shakespeare magazine 08

56
 A t l a s t!  A ma g a z i ne w i t h a l l t h e W i l l i n t h e w or l d Issue 8 FREE Hamlet  Sweet Home Shakespeare’s Stratford-upon- Avo n: it’s our essential guide! Screen Savers Video Games: The future of Shakespeare? Native Tongues The sound of Shakespeare in Scotland Painting the Bard The haunting Shakespeare art of Rosalind Lyons Shakespeare’s hottest ticket: BENEDICT CUMBERBATCH is Burning at the Barbican

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Page 1: Shakespeare Magazine 08

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At last A magazine with all the Will in the world

Issue 8FREE

Hamlet

SweetHomeShakespearersquos

Stratford-upon-

Avon itrsquos our

essential guide

Screen

SaversVideo Games

The future of

Shakespeare

Native

TonguesThe sound of

Shakespeare

in Scotland

Paintingthe BardThe haunting

Shakespeare art

of Rosalind Lyons

Shakespearersquos hottest ticketBENEDICT CUMBERBATCH

is Burning at the Barbican

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At last A magazine with all the Will in the world

Hamlet Shakespearersquos hottest ticketBENEDICT CUMBERBATCH

is Burning at the Barbican

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Welcome to Issue 8 of Shakespeare Magazine

Welcome

SHAKESPEARE magazine 3

P h o t o D a v i d H a m m o n d s

Shakespeare is our greatest most discussed most studied mostwritten-about author And yet we Shakespeare fans are oftenmade to feel that the Bard is some minor niche obsession thatcuts us o ff from what everyone else is getting excited about

So itrsquos great for us when Shakespeare becomes headline news ndashand I mean real news as opposed to the mediarsquos endlessly recycledShakespeare non-stories

Which brings me to Benedict Cumberbatchrsquos Hamlet Undoubtedlya real news story and a real Shakespeare story right now it feels likethe biggest thing to hit London since Henry VIIIrsquos fourth stag partye papers have been having a field day reporting on every aspect of

Benrsquos Barbican performances Some of it has been trivial sure But itrsquosalso touched on interesting subjects What is accepted theatre etiquettendash for journalists as well as fans Why is Hamlet such a pinnacle foractors And what happens if you move its most famous speech to thestart of the play

So this issue wersquore unashamedly celebrating Benedict Cumberbatchrsquos

Hamlet If yoursquore new to Shakespeare you probably donrsquot know thathe wasnrsquot actually the most popular and successful playwright of hisday But 400 years later hersquos the undisputed number one And thatrsquosdefinitely something to shout about

Enjoy your magazine

Pat Reid Founder amp Editor

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Contents

Shakespeare MagazineIssue Eight

August 2015

Founder amp EditorPat Reid

Art EditorPaul McIntyre

Staff WritersBrookeomas (UK)

Mary Finch (US)

WritersLiz Barrett

Andrew BretzPaul F CockburnRosalind LyonsHelen Mears

Jen Richardson

Chief Photographer Piper Williams

Thank YouMrs Mary Reid

Mr Peter RobinsonMerchant Taylorsrsquo School Crosby

Web designDavid Hammonds

Contact Usshakespearemagoutlookcom

FacebookfacebookcomShakespeareMagazine

Twitter UKShakespeare

Website wwwshakespearemagazinecom

4 SHAKESPEARE magazine

At last A magazine with all the Will in the world

Issue 8FREE

Hamlet

SweetHomeShakespearersquosStratford-upon-Avon itrsquos our

essential guide

ScreenSavers

Video GamesThe future of

Shakespeare

NativeTongues

The sound ofShakespeare

in Scotland

Paintingthe BardThe haunting

Shakespeare artof Rosalind Lyons

Shakespearersquos hottest ticketBENEDICT CUMBERBATCH

is Burning at the Barbican

6 BigBen

Itrsquos the Shakespeare event

of the Year BenedictCumberbatch is Hamlet

18 No PlaceLike Home

Back to where it all began

exploring Shakespearersquos hometown Stratford-upon-Avon

28 PaintingShakespeare

Magical haunting and dream-like the Shakespeare art ofRosalind Lyons

34 Killingthe King

Actor Aidan OrsquoReilly tells ushow hersquos preparing to playShakespearersquos Richard III

39 BonniePrince Billy

You havenrsquot heard Shakespeareuntil yoursquove heard it in theoriginal Scottishhellip

44 e Gamersquos

AfootCould the dizzying digitalworld of video games be

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Benedict Cumberbatch

6 SHAKESPEARE magazine

BigBen

ldquoHow weary stale fl at and unpro fi table

Seem to me all theuses of this worldrdquo [I 2]

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Perhaps the quintessentially English actor

Benedict Cumberbatch is taking on the

quintessentially English poet and playwright

William Shakespeare His new Hamlet

is the fastest-selling production in London

history but which other Shakespeare roles

has Benedict played And how does he feel

about tackling The Big One

Words Helen Mears Photos Johan Persson

Benedict Cumberbatch

SHAKESPEARE magazine 7

Lyndsey Turnerrsquos 2015production of Hamlet

features striking setdesigns by Es Devlin

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Benedict Cumberbatch

8 SHAKESPEARE magazine

and Romeo and Juliet playing Orlando andBenvolio respectively

Shakespeare does not feature again inCumberbatchrsquos CV Instead he worked his way through acclaimed TV work such as hisportrayal of Steven Hawking in 2004 bio-drama Hawking and his role as the troubledartist Vincent Van Gogh in 2010rsquos VanGogh Painted with Words and film roles in Atonement (2007) and The Other Boleyn Girl (2008) before breaking big in 2010 with theBBCrsquos Sherlock The programme was a world- wide success and propelled Cumberbatchonto the acting A-list Since then he hasfeatured in Star Trek Into Darkness (2013) 12Years a Slave (2014) and two of the Hobbit films (2013-14) in which he voiced thedragon Smaug He also made a huge successof The Imitation Game (2014) in which heplayed codebreaker Alan Turing

Now Benedict is returning to Shakespeare with vengeance with two major roles on

stage as tragic hero Hamlet and on BBCTV as arch-villain Richard III in The HollowCrown The Wars of the Roses A taster came inthe BBCrsquos Lifetime of British Drama promo where he beautifully recites the Seven Agesof Man speech from As You Like It over clipsfrom classic BBC dramas past and present

Incredibly Cumberbatch is himself adistant descendant of Richard III The actorread Carol Ann Duffyrsquos specially-composedpoem lsquoRichardrsquo at his ancestorrsquos re-interment

at Leicester Cathedral in March 2015 Hefelt honoured to have been involved and itseemed particularly apt that he was filmingthe role of Richard at the time of thishistoric event ldquoHaving just played his verydifferent Shakespearean characterisationrdquo

Benedict will beseen as Richard IIIin the second cycleof the BBCrsquos The

Hollow Crown

B enedict Cumberbatchrsquos professionalrelationship with Shakespeare began early inhis career back in 2001 He appeared in theNew Shakespeare Companyrsquos productions inRegentrsquos Park playing the King of Navarrein Loversquos Labourrsquos Lost and Demetrius in A Midsummer Nightrsquos Dream As he told Whatrsquos

On Stage in 2005 ldquoThey were my first twoprofessional roles in the theatrerdquo In theinterview he also stated that Shakespeare was his favourite all-time playwright Thispresumably influenced his decision to returnto Regentrsquos Park in 2002 for As You Like It

ldquoYou wouldnrsquot look twice at Richard Hersquos avery dangerous charming powerful manrdquo

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Benedict with MartinFreeman (left) in theBBCrsquos Sherlock

Rehearsals forHamlet July 2015

Benedict Cumberbatch

SHAKESPEARE magazine 9

he commented ldquoI was intrigued to see whatthe real historical event would be like andto be a part of this extraordinary moment ofremembrance Then what really sealed thedeal was this beautiful poemrdquo

Benedict feels that the discovery ofRichardrsquos remains has changed peoplersquosperceptions ldquoI think the debate in historicaland archaeological terms about the reality ofhim and his kingship is whatrsquos extraordinaryto witness nowrdquo

He also recognises the perilous appealof Shakespearersquos Richard ldquoYou wouldnrsquotlook twice at him necessarilyrdquo he said ldquobutonce he had you in his beamhellip Hersquos a verydangerous charming powerful manrdquo

Cumberbatch was boldly instrumentalin Dame Judi Denchrsquos appearance in TheHollow Crown The Wars of the Roses Heattended a Shakespearean workshop eventat which the veteran actress was appearing When the audience were asked if they hadany questions he leapt into action askingldquoWould you like to be in Richard III withmerdquo Dame Judi naturally accepted

And fans of Sherlock will already knowthat Andrew Scott who played criminalmastermind Moriarty will also be appearing

in The Wars of the Roses as the French KingLouis

But itrsquos Cumberbatchrsquos run as Hamlet

at Londonrsquos Barbican that is arguably the Shakespeare event of 2015 It sold out inrecord time (although the venue promisethat day tickets will be available for eachperformance) as fans worldwide foughtfor their chance to see Benedict play theDane It is clearly the fruition of a dream forCumberbatch Indeed when asked at 2012rsquos

Cheltenham Literary Festival which play he would choose if he could only perform onemore stage role he opted for Hamlet ldquoEveryactor wants to have a go at itrdquo he said ldquoand I want to have my go at it and I will But wersquore working out when and howrdquo

Well the ldquowhen and howrdquo is right nowBenedict Cumberbatchrsquos career has come fullcircle from his first professional performanceof Shakespeare to playing his dream role Ifyoursquore lucky enough to have a ticket yoursquoll

be witnessing the most talked-about andfeverishly-anticipated theatrical event in yearsIf not therersquos always those queues for daytickets Wersquoll see you there

Hamlet runs at the Barbican Theatre

London until 31 October

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Shakespeare On Sale

SAVE 25 Since 1941 Dover Publications has built its reputation by offering remarkable books at

amazing prices Discover our fine catalog of the works of William Shakespeare

The complete collection of comedies historiesand tragedies all in compact 5rdquo x 8rdquo unabridgedpaperback editions The lowest-priced editionsavailable for todayrsquos educators students actorsand Shakespeare lovers of every kind

Complete and unabridged text of a play plus acomprehensive study guide with scene-by-scenesummaries explanations and discussions of the plota question-and-answer section and more

Calla Editions reg Books of Distinction for the Contemporary Bibliophile

Our premium imprint features impeccable hardcover reproductionsof some of the most beautiful books ever published Filled with

breathtaking artwork and other deluxe features each Calla Editionrecalls a time when bookmaking was considered an artform

wwwdoverpublicationscomwilliam-shakespeare

To SAVE 25 Click Here

NO minimum order required bull Use CodeWLA2 at checkout bull Expires 123115

P l u s M or ehellip

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G A L L E R Yamp R E V I E WFor a generation of Cumberbatch fans lsquoBenedict at the Barbicanrsquo is the

most sensational and controversial Shakespeare production of a lifetime

Images Johan Persson Words Liz Barrett

Hamlet

ldquoTo be or not to be ndashthat is the questionrdquo[III 1] Controversially the playrsquos most iconicspeech was moved to the beginningAs we went to press however thisdecision had apparently been reversed

Benedict Cumberbatch

SHAKESPEARE magazine 11

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Benedict Cumberbatch

12 SHAKESPEARE magazine

ldquoA villain kills my father and for thatI his sole son do thissame villain sendTo heavenrdquo [III 3]

ldquorsquoTis in mymemory lockrsquod And you yourself

shall keep the key of itrdquo[I 3] Ophelia (Siacircn Brooke)

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Benedict Cumberbatch

SHAKESPEARE magazine 13

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Benedict Cumberbatch

16 SHAKESPEARE magazine

ldquoAnd yet to me whatis this quintessence

of dustrdquo [II 2]

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Even more than London there

is one place above all that is

green and pleasant landhellip

Words Helen Mears

Pictures Helen Mears and Susan Braund

Stratford-upon-Avon

SHAKESPEARE magazine 19

W e could be in any smallpicturesque Englishtown with its medievalchurch half-timberedTudor buildings shops

restaurants and delightful riverside walksBut Stratford-upon-Avon is not just any

town Itrsquos one of the best-known most- visited and probably most-loved locations inEngland Thatrsquos because itrsquos the birthplace of William Shakespeare Itrsquos also the place heseems to have considered his home After allShakespeare grew up there went to schoolthere and spent his final days there

So here is Shakespeare Magazinersquos on-the-ground guide to Stratford-upon-Avon Hereyoursquoll find hints and tips for first-time visitorsand returning aficionados alike What to see

the best ways to see it where to stay where toeat and how to get around while yoursquore there Are you ready Then letrsquos start our tourhellip

The BirthplaceSurely the must-visit spot for any self-respecting Bardolator this is where it all beganndash the six-roomed Merchantrsquos House on HenleyStreet where in April 1564 Mary Shakespeare wife of glover John gave birth to their famousson Williame house is approached

HOME

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20 SHAKESPEARE magazine

through the Shakespeare Centre on the left-hand side of the Birthplace A short exhibitionshows you items such as a prized First Folioand the foot of Stratfordrsquos Old Market Cross

from where glover John Shakespeare wouldhave sold his wares A walk through the gardens leads to

the house itself You enter through theself-contained annexe where William and Anne Shakespeare spent the first years oftheir married life and where their childrenSusannah Judith and Hamnet were born eannexe was later occupied by Williamrsquos sister Joan You can walk through the parlour andthe dining room to Johnrsquos workshop where heproduced gloves and other leather goods

A staircase leads to two bedrooms onefor the girls one for the boys and a loft spaceis visible where the apprentices would haveslept Finally you reach the birth room themain bedroom in which William and his sevensiblings were born

Guides are on-hand in all rooms to tell youtheir history and other gems of informationComplete your visit by watching classicShakespearean speeches performed in thegarden by resident acting troupe Shakespeare

Aloud and then picking up some souvenirs inthe gift shop and excellent bookshop

e five house ticket is the best value givingyou entry to all of the properties (HarvardHouse is a current alternative to New Place)and allowing you to view Shakespearersquos Gravein Holy Trinity Church

The Avon and Boat trips A walk along the Avon is a must in any seasone gentle stroll from the RSC to Holy Trinity

Church will take you past drooping willowssmoothly sailing swans and green parklandFor a diff erent perspective on the town you cantake a boat trip along the river itself Startingfrom near the RSCeatre you cruise gentlydown to the church where Shakespeare wasbaptised and buried before turning back andheading past the theatre and under CloptonBridge Itrsquos a bridge that William himself would have known built as it was around1480 e Avon is very pretty everywhere

you look are the incredible tame (and alwayshungry) swans and picturesque houseboatse banks are lined with weeping willows that just might have been the inspiration for poorOpheliarsquos watery end in Hamlet If you wouldrather take a slower self-driven trip there arerowing boats canoes and small speedboatsfor hire Beware though these are not aseasy to control as they look and you may wellspend a good proportion of your allottedtime relearning how to row and avoiding

Stratford-upon-Avon

The birth roomat ShakespearersquosBirthplace

Molly fromShakespeare Aloudin the Birthplacegarden

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SHAKESPEARE magazine 21

other hapless river tra ffic Boat trips typicallylast for around 40 minutes and are especiallypleasant in the late afternoon when the sun setsslowly behind the church steeple For addedluxury you can take a restaurant cruise where

afternoon tea or an evening meal are served onboard or as a quicker cheaper alternative youcould take the chain ferry across the Avoneferry dates from 1937 and is the last of its kindin the UK

Nash House and New Place

As well as the Henley Street property theShakespeare Birthplace Trust care for fourother locations in and around Stratford allassociated with Williamrsquos family Nash House

and New Place were adjoining propertieseformer was the home of Judith Shakespeareand her husband while the latter was thefamily home that William purchased in 1597at the time the second most expensive housein the town Sadly it was demolished by asubsequent owner but the Trust are currentlyundertaking a massive renovation of the siteis means that the properties will not be opento the public until 2016 to coincide with the400th anniversary of Shakespearersquos death

Hallrsquos Croft

A brief walk from New Place will take youto Hallrsquos Croft the home of SusannahShakespeare and her husband the physician John Hallis is an interesting property in its

own right and is partly set up to show how apractising physician would have worked at thetime A special mention too must goe Arterthe award winning independent craft shopadjoining the building and to the beautifulgarden in which open air performances ofShakespearersquos plays are sometimes performed

Stratford-upon-Avon

Holy TrinityChurch viewedfrom the Avon

Nash House andNew Place

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22 SHAKESPEARE magazine

Anne Hathawayrsquos Cottage A short distance from Stratford is Shottery where you can find the beautiful cottage

which was the home of the Hathaway familySet in yet another lovely garden this is thehouse in which Anne Hathaway grew upand was courted by the young William JohnShakespeare served with Anne Hathawayrsquosfather on the town council so their childrenprobably knew each other from a young agee family remained associated with thecottage for several centuries and have spunmany a yarn about the young lovers theveracity of which are highly questionable

However the stone floor of the kitchen isoriginal and we know that William must have walked those stones many many times

Mary Ardenrsquos Farme last of the Shakespeare properties is Mary Ardenrsquos Farm Shakespearersquos mother lived hereand itrsquos where she probably took the infant William when plague broke out in Stratfordshortly after his birth Open from March toNovember only the farm is run as a working

Tudor farm with costumed guides caring forthe buildings and the animals Itrsquos a great placefor a family day out with plenty to see and doand numerous activities runningere are

daily falconry shows archery animals to feedand games to play You can even treat yourselfto a genuine Tudor meal in the cafe ndash pottageand home-baked breads are a speciality

What if you donrsquot have a care town itself is fairly small and all themain attractions are within walking distanceHowever the easiest way to get around and toenable a visit to Anne Hathawayrsquos Cottage andMary Ardenrsquos farm is to the Hop On-Hop Off City Sightseeing busis will take you to allthe main town locations and also to Shotteryand Wilmcote A day ticket will give youunlimited access to the buses and allow you tovisit all of the Shakespeare properties e buscan be picked up by the statue of Touchstonethe jester at the top end of Henley Street

Walking Tours Another excellent way to see the main sites ofStratford and to learn some of the historicaltales of the town is to take a walking tour

Stratford-upon-Avon

Anne HathawayrsquosCottage

Mary Ardenrsquos Farm

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ere are several options depending on thetype of tour yoursquod likee town guides runhistorical tours of the town every day (yesevery day) of the year For those who like to be

a bit more daring there are evening ghost walksled by costumed guides who will tell you someof the spooky tales of Stratford Both of thesetours start from the Swan Water Fountain onthe riverside

Or if you like the idea of being guidedby Shakespeare himself on a Saturday (andMonday to Saturday through the summerholidays) there are town walks led by the manhimself (or someone who looks an awful lotlike him)ese run from Tudor World onSheep Street an interesting museum in thehouse that belonged to the man who wasallegedly the model for Sir John Falsta ff

Holy Trinity Church Another must-see is the townrsquos 13th centurychurch with its distinctive spire that dominatesthe view from the river Remember that if youhave a ticket to the Birthplace properties yourvisit to the grave is free e church is famousfor being where William Shakespeare wasbaptised on 26 April 1564 e old font that

was used for the baptism is displayed in thechancel along with copies of both the registerof baptism for April 1564 and the register ofburials for April 1616 where Shakespearersquosname can be clearly seen Also in the chancelin front of the altar are the Shakespeare familygraves Williamrsquos bears its infamous curse

ldquoGOOD FRIEND FOR JESUSSAKE FOREBEAR

TO DIGG THE DVST

ENCLOSED HEREBLESTE BE YE MAN YT SPARESTHESE STONES

AND CURSED BE HE YT MOVESMY BONESrdquo

On the wall above the grave is the effigy of

Shakespeare Itrsquos one of the few images which was produced within the lifetime of AnneShakespeare and probably one of the mostauthentic likenesses of her husband

The Guildhall and King EdwardrsquosSchoolDirectly opposite the site of New Place standthe Guildhall and the townrsquos old grammarschool Both of these places have links to theShakespeare family King Edwardrsquos Schoolis where the young William is believed tohave studied and itrsquos probably where hefirst encountered the classical texts which soinspired him As the son of a town councillorhe would have been entitled to a placee

old school is sometimes open to visitors at weekends or during the holidays but theschool has just won a lottery grant whichshould enable them to open it as a permanentattraction e Guildhall was sometimes hostto groups of travelling players and so it couldbe the site where young William first sawtheatrical performances It is widely believedthat John Shakespeare owing to his role astown bailiff was responsible for supervising the whitewashing of the medieval Doom Painting

Stratford-upon-Avon

SHAKESPEARE magazine 23

The GuildhallDoom Painting

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24 SHAKESPEARE magazine

Stratford-upon-Avon

is has been recovered and is now once againvisible above the chancel arch

The Royal Shakespeare CompanyTheatre and the riversidee riverside park is home to several interestingsights It is from here that you can get a view ofthe Clopton Bridge pick up a river cruise feedthe swans and admire the Gower Memoriale memorial was presented to the town in1888 and features a statue of Shakespeareseated upon a plinth overlooking statues offour of his best known charactersese areHamlet Prince Hal Sir John Falsta ff and Lady

Macbeth who represent Comedy HistoryPhilosophy and Tragedy Closer to the theatreis the beautiful Swan Water Fountain unveiledin 1996 If you see the water frothing fear notit seems to be a sport amongst local youngstersto fill the fountain with washing up liquid on aregular basis

e Royal Shakespeare Companyeatre was built in 1932 but has recently undergonea complete refurbishment in both the mainand the Swan theatres e building reopened

in 2010 with both theatres having beenconverted to boast thrust stages and curvedgalleries similar in shape to the originalElizabethan playhousese world renowned

Royal Shakespeare Company performshere throughout the year staging plays byShakespeare and his contemporaries as well asby newer authors ey also run an educationprogramme exhibitions family activitiesduring the school holidays and theatre toursTo see Stratford from an entirely diff erentangle take the lift up the 36 metre high towerfor spectacular views across the town

Where to eat and drinkStratford has an excellent range of eateriesto suit all tastes and budgets ere is pubgrub afternoon teas world cuisine finedining pizza pasta and fish and chips Manyrestaurants off er pre-theatre menus and ifyoursquove been on a town walk you may find thatyou can get discount vouchers for your foodere are many pubs in Stratford including theGarrick Inn the oldest pub in the town whereyou can taste the Shakesbeer specially brewedto celebrate Shakespearersquos 450th Birthday in2014 If you want to spot RSC cast members

relaxing after their showse Dirty Duck on Waterside is the place to drink

Where to stay Again Stratford-upon-Avon has a good varietyof hotels bed and breakfasts and holidayhomes All the main chains have hotels inthe town from budget brands to the luxurynamesere is an excellent choice of bedand breakfast establishments in and aroundthe town again these will suit all tastes and

budgets Airbnb also has an interesting rangeof rooms flats and houses to rent in StratfordHowever be sure to book early especially forthe prime summer months

The Shakespeare Birthplace Trustwwwshakespeareorguk

The GowerMemorial Will andPrince Hal

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M

any places around the worldhave been named afterStratford-upon-Avon thebirthplace and home of William

Shakespeare And many of those Stratfordsare home to theatre festivals of varying sizesStratford in the state of Victoria in Australiahas an annual Shakespeare festival still goingevery year while Stratford in Connecticut inthe USA had a major theatre from the mid1950s to the mid 1980s Stratford Ontarioin Canada however stands out among thesetowns and festivals not merely in scope but ininternational reputation and prestige

In 1950 Canada had no home-growntradition of classical theatre Certainly

Shakespeare was performed but there hadbeen a strong anti-theatrical movement inCanada throughout the 19th century whoseeffects still lingered throughout the first half ofthe 20th As a cultural icon Shakespeare wasedifying to be sure but certainly not to beperformed The Stratford Festival changed allof that for Canada

In the late 1940s the local newspapers andgovernment of the town conceived of the ideaof revitalising Stratfordrsquos sagging economy by

capitalising on the name of the town and its

long association with the Bard They bandedtogether and under the leadership of TomPatterson they brought over Tyrone Guthrieand Alec Guinness for the first season in1953 Guthrie had famously directed Gielgud

inHamlet

at Elsinore Castle in Denmarkand had been the manager of the Old Vic inLondon He wanted to create an acting spacethat echoed the original Globe theatre whereactors were surrounded by the audience incontrast to the proscenium arch theatres thatdominated the London and New York scenes

From the first performance which tookplace inside a giant circus-style tent on thebanks of the Avon River the festival workedto create a new aesthetic of Shakespeareanperformance The thrust stage of the FestivalTheatre designed by Tanya Moiseiwitschhas been recognised as one of the greatinnovations in stage design of the 20th centuryGenerations of actors have had to learn howto address an audience on three sides of themsometimes only an armrsquos length away

The festival has been central to the careersof Canadian actors such as ChristopherPlummer Martha Henry and even WilliamShatner Actors from the US and UK havesought to play the festival as well including

Peter Ustinov Christopher Walken and JessicaTandy Indeed these international stars notonly lend credibility but have indelibly markedthe festival For instance Maggie Smithrsquosperformance as Rosalind in As You Like It inthe 1977 and 1978 seasons is legendary in thecompany and the town

Today the festival has expanded to includemultiple performance spaces a theatre schooluniversity accredited courses and the largesttheatrical costume shop in North America

It has started countless careers inspiredcompanies such as Torontorsquos SoulpepperTheatre and helped shape the Canadiantheatre landscape for over 50 years

Stratford Festival ndash Ontario Canada

wwwstratfordfestivalca

MEANWHILE

IN CANADATherersquos more than just one Stratford you knowAnd the one in Ontario Canada has a world-renownedShakespeare Festival gives us a tour

Stratford Ontario

SHAKESPEARE magazine 25

ldquoFrom the fi rst performancethe Festival worked tocreate a new aesthetic ofShakespearean performancerdquo

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Planning to performa short selection

from Shakespeare

The 30-Minute Shakespeare

Anthology contains 18 abridged

scenes including monologues from

18 of Shakespearersquos best-known plays

Every scene features interpretive stage

directions and detailed performance

and monologue notes all ldquoroad testedrdquo

at the Folger Shakespeare Libraryrsquos

annual Student Shakespeare Festival

THE 30-MINUTE SHAKESPEARE is an acclaimed series of abridgments that tell the story of each play while keeping the beauty ofShakespearersquos language intacte scenes and monologues in this anthology have been selected with both teachers and students inmind providing a complete toolkit for an unforgettable performance audition or competition

NICK NEWLIN has performed a comedy and variety act for international audiences for more than 30 years Since 1996 he hasconducted an annual teaching artist residency with the Folger Shakespeare Library in Washington DC

The 30-Minute Shakespeare series is available in print and ebook format at retailersand as downloadable PDFs from 30MinuteShakespearecom

The 30-Minute Shakespeare Anthology

includes one scene with monologue

from each of these plays

ldquoLays the groundwork for a truly fun and sometimes magical

experience guided by a sagacious knowledgeable and intuitive

educator Newlin is a staunch advocate for students learning

Shakespeare through performancerdquo mdashLibrary Journal

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Roaslind Lyons

28 SHAKESPEARE magazine

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For UK artist Rosalind Lyons the Bard is a

constant presence in her creative life She tells

us how Shakespeare inspired the haunting and

dreamlike works that adorn these pages

Words and paintings by Rosalind Lyons

Rosalind Lyons

SHAKESPEARE magazine 29

Left TheRoaring Boys

PAINTINGSHAKESPEARE

S hakespeare has long been at the heart ofmy work sometimes directly and obviouslyin the subjects and often in the titlesBut always Shakespearersquos words charactersand stories are there in my head when Iam painting ndash a perpetual conscious andunconscious presence

My style echoes that of the Renaissancepainters and Elizabethan portraits andthese influences combined with a life-long love of Shakespeare made my firstvisit to Shakespearersquos Globe pivotal Iexperienced a powerful sense of connectionand recognition Here suddenly ideasand themes with which I had been so longpreoccupied were brought to life

I subsequently gained access to theGlobe to draw and later spent some time

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as Artist in Residence thereat experienceprompted more in-depth exploration notonly of Shakespeare and painting but of therelationship between painting and theatreere are of course the strong visualconnections ndash both are spaces for spectacleand illusion But also compelling ideas oftransformation imagination storytelling andidentity And overall the theme of ambiguitye blurring of boundaries between realityand fiction male and female light andshadow past and present I am fascinated byhow we respond to history how we re-presentand re-imagine the past And the figures inmy paintings are imagined as belonging toboth now and then ndash flitting back and forthacross the threshold between past and presentbetween Shakespearersquos time and our own

modern worldI have painted some specific characters

from Shakespeare but many subjects ofmy paintings are anonymouse figuresare unknown their place purpose role is amysteryis anonymity is unsettlingereare clues in the setting in the costumes ndash orperhaps I should just say in the clothes theyare wearing ndash but the context is not obviousI am fascinated by the dramatic convention ofcross-dressing ndash and particularly the inherent

confusion as with Rosalind ( As You Like It )and Viola (Twelfth Night ) in the idea of aboy playing a girl playing a boy Many of thecharacters I invent are androgynous theirgender and age uncertainis ambiguityof identity interests me in the context ofvisual illusion and theatrical transformationthe idea of inbetween-ness and somethingunresolved

Like theatre my paintings are concerned with inventing characters and the creation

Right No MoreYielding But A

Dream

Roaslind Lyons

30 SHAKESPEARE magazine

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of an imaginary world and I am particularlyattracted to the fools fairies and witchesIn A Midsummer Nightrsquos Dream the fairiesrsquoactions may seem malevolent or benign or just mischievous but there is definitely a dark

side an underlying sense of threate Fool too is intriguing Shakespearersquosfools frequently describe themselvesor are referred to as a nobody but areunquestionably much moree fool is anoutsider concerned with but at the same timeseparate from the story He ndash or sometimesshe ndash doesnrsquot quite belong anywhere butseems to exist on the boundary between thefamiliar and the uncanny

I am attracted to the strange to mysteryand shadows and try to express through myimages a strong feeling that it could be thator maybe something else As Orsino says atthe conclusion of Twelfth Night ldquoA naturalperspective that is and is notrdquo While makinga painting and even when it is finished Idonrsquot know really who my characters are ndashthey remain elusive But I like not knowingand ultimately meanings always change anddepend on individual perceptions

My experience at the Globe led to aparticular fascination with the ambiguous and

protean quality of the theatrical performerhow their identity transforms and fluctuatesI was attracted by this when watching

Rosalind Lyons

SHAKESPEARE magazine 31

Above A MidwinterNightrsquos Dream

Right Three Fools

Far right FollowingDarkness

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rehearsals observing actors shift between selfand impersonation between diff erent realitiesand identities When they are not acting theyndash metaphorically and often literally ndash melt

into the shadows I am interested too in thephysical and symbolic threshold between lsquoonrsquoand lsquooff rsquo-stage the transformation inherentin an actor moving from the wings onto thestage assuming another self and anotheridentity Particularly evocative is the fact thatactors were colloquially known as shadowsin the Elizabethan playhouses ndash suggestingsomething unknowable and insubstantialIn the Prologue to Henry V Shakespeare hasthe Chorus describe the players as lsquociphersrsquoimplying deception and secrecy

Artists in the past who have tackledShakespeare have generally produced imagesthat directly illustrate the text or representfamous actors or scenes from a particularperformance Today as well as on the stageShakespearersquos plays are frequently re-imaginedin very successful film and TV adaptationsbut I have struggled to find more than ahandful of contemporary fine artists whohave engaged with Shakespeare on any levelPerhaps Shakespeare as a subject is seen

by some as too traditional too lsquopopularrsquoor simply just too lsquooldrsquo But in the theatreand in literature there is an ever-increasingenthusiasm for innovative interpretationsof the plays and for me Shakespeare is aconstant inspiration

e Prologue of Henry V also urges theaudience to ldquoPiece out our imperfections withyour thoughtsrdquo to liberate the imaginationand create another kind of reality to shapeour own fantasies within the ldquowooden Ordquo of

the theatre In my paintings I endeavour todo the same

Explore the work of Rosalind Lyons atwwwrosalindlyonscom

Above These Two CreaturesBelow Therersquos Magic In Thy Majesty

Roaslind Lyons

32 SHAKESPEARE magazine

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$amp( ) +-01

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Aidan OrsquoReilly

34 SHAKESPEARE magazine

Looking forRichard AidanOrsquoReilly is playingShakespearersquosbaddest monarch

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Aidan OrsquoReilly

SHAKESPEARE magazine 35

You are legally blind having been

diagnosed with retinoblastoma as an

infant How did this impact on your

acting aspirations and early career

ldquoMy parents did a good job raising me Inever grew up thinking of it as a handicap orthinking it could hold me back from what I wanted to do I couldnrsquot play sports at all soI think my parents were grateful that I hadsomething that I was passionate about from avery young age

ldquoI went to a public elementary school with a program designed for the blind so itfelt very natural for me to be the way that I was And acting has always been part of thatrdquo

You went to RADA in London Was

there a reason why you wanted to

train in England and not in the US

ldquoItrsquos always been an ambition of mine to

travel as far and wide as possible Also myhero growing up was Peter OrsquoToole ndash Iread his autobiography in high school andlearned he had gone to RADA and decided I wanted to go there too So I auditioned therenot knowing that RADA is arguably thebest drama school in the English-speaking world Consequently I was quite relaxed atthe audition which is probably why I gotin My ignorance can sometimes serve me well Going to RADA was a life-changing

Aidan OrsquoReilly is an actor with an

inspiring story Legally blind since he

was six months old he forged a passionfor drama at an early age Aidan went

on to gain a BA with honours from

Londonrsquos Royal Academy of Dramatic

Art before touring for three years with

the American Shakespeare Center

In 2012 Aidan was diagnosed with

sarcoma a rare cancer He bounced

back in 2014 after intensive treatment

and is now cancer-free We spoke to

Aidan as he prepared to play the title

role in Richard III for Californiarsquos Marin

Shakespeare Company We asked himto share his story and to give us his

take on one of Shakespearersquos most

fascinating characters

Interview by Jen Richardson

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Aidan OrsquoReilly

36 SHAKESPEARE magazine

experience I was lucky enough to havecontact with brilliant professors and Irsquom stillin awe of the students I went to school withI wouldnrsquot trade that experience for anythingrdquo After graduating from RADA you

went on the road with the American

Shakespeare Center Tell us a bit

about that

ldquoThat was one of the happiest times of mylife In many ways I got spoiled I was a working actor 11 months out of the yeartouring nationally seeing parts of the USI had never been to before doing plays Iloved and working with directors who werevehemently faithful and respectful to the text When I wasnrsquot on the road I was in residenceat the Blackfriars Playhouse in StauntonVirginia with many extraordinary actorsI was very lucky to be thererdquo

Three years ago you were diagnosed

with sarcoma How did you

overcome this enormous challenge

and return to the stage in 2014

ldquoThe only reason Irsquom still alive is because ofmy mother Lily and my wife Jocelynn AlsoI was fortunate that we caught it before it hadspread and it was on my leg and away fromany major organs

ldquoI am very grateful for my team of doctorsat UCSF who did an incredible job in mytreatment and follow-up care Irsquom glad to beback to workrdquo Yoursquore now due to play Richard III

with Marin Shakespeare Company

Howrsquos it going so far

ldquoAt this point Irsquom in the paperwork stage

of things A lot of reading the HenryVI s biographies of Richard as well asperformance history of the play itself Irsquomdoing a fair amount of limping around myapartment as well I canrsquot wait to get intorehearsals next weekrdquo Tell us about Marin Shakespeare

Company and what appealed to you

about working with them

ldquoRobert and Lesley [Currier MSCrsquos Artistic

Director and Managing Director] arefascinating people Their intelligence andhumour is contagious Without questionthere is a lot to be learned from themrdquo Richard IIIrsquos remains were discovered

in 2012 and reburied this year Is all

the new information about Richard

influencing your portrayal

ldquoYes and no My job isnrsquot to play the historicalRichard but the Richard that Shakespeare has

Aidan believesthat Richard IIIrsquosobsession withcontrol is whatcauses his downfall

ldquoPeter OrsquoToole wasmy hero He went to

RADA so I wanted to go there toordquo

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Crowning gloryAidan with MarinShakespearersquosRobert Currier

created Itrsquos helpful to know the facts of thesituation in order to gain insight into whathas been changed in Shakespearersquos versionof events

ldquoI met with a friend of mine who is a

retired surgeon who walked me through themedical information that has come to lighton Richardrsquos body and I will certainly usethat to inform my physical choicesrdquo Unlike many actors yoursquore the right

age to play the historical Richard III

Do you feel Richardrsquos relative youth

has been overlooked

ldquoI do Richard is a young man who believeshe is hardened by the experiences he andhis family endured during the War of theRoses and believes himself to be beyondhuman emotions and the lsquorestrictionsrsquo of aconscience He isnrsquot He pays the bill for thehorrible things he does That lack of self-knowledge is not exclusive to youth but I feelit makes him more sympathetic and relatableto an audiencerdquo Some people think Richard III shows

Shakespeare delivering a highly

effective piece of Tudor propaganda

Where do you stand on thatldquoI think Shakespeare has a soft spot foroutsiders and underdogs Although his playssometimes work within the confines of thebiases of Elizabethan society he canrsquot help butmake his lsquovillainsrsquo fascinating human beings

For as horrible as Richard is itrsquos amazing tosee how audiences relate and respond to himrdquo Which other important themes do

you feel Shakespeare deals with in

the playldquoThe history plays are full of extraordinarypeople who waste their lives and intelligence who sacrifice their humanity in pursuit of thecrown Itrsquos still happening today What is theattraction of power Richard never pauses tothink of why he wants the crown or if hersquodbe any good as king Turns out hersquos not butitrsquos this bizarre obsession with control thatpropels him to kill everyone off thatrsquos in his way Itrsquos also fascinating that the one characterthat is consistently kind to Richard is hisfather York

ldquoI think an argument can be made thatRichard in his warped way is trying to liveup to the image he has of his father Ofcourse York is dead and gone by the timeRichard III begins but you can glean a lotabout Richardrsquos inner workings in the way hespeaks about his father Of course itrsquos foolishto try to answer questions that Shakespearedoesnrsquot and Irsquom not trying to say this solvesa mystery but I think itrsquos interesting Itrsquos only

an element itrsquos not the answerrdquo Richard III is listed as a historical

play in the First Folio but in the

quarto edition it is termed a tragedy

Which category would you put the

play in and why

ldquoI think of the history plays from Richard II to Richard III as one vast play an epic thatencompasses all the categories I think if youlook at Richardrsquos progression through those

plays you see a great mind warped by the War of the Roses and that certainly adds tothe tragic element I think of Richard III asthe final chapter of a great epicrdquo

Aidan OrsquoReilly stars in Marin ShakespeareCompanyrsquos Richard III from 4-27 September

Aidan OrsquoReilly

SHAKESPEARE magazine 37

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Scotland Shakes

SHAKESPEARE magazine 39

Bonnie Prince

Brian Fergusonas Hamlet in theCitizens Theatre

production Photoby Tim Morozzo

Billy William Shakespeare is undoubtedly Englandrsquos

Bard But how is he viewed north of the border

Our Caledonian correspondent surveys the state

of Shakespeare in Scotland and meets esteemed

outdoor theatre company Bard in the Botanics

Words Paul F Cockburn

T owards the end of May thisyear a BBC Scotland afternoon

news bulletin surprisinglyturned its attention to aforthcoming production of

ldquoone of William Shakespearersquos best lovedplaysrdquo ndash A Midsummer Nightrsquos DreamHowever this particular production wasnrsquotconsidered newsworthy because it came froman amateur group based in Dumfries andGalloway Not even that the CrossmichaelDrama Club were one of just seven amateurScottish groups taking part in the Royal

Shakespeare Companyrsquos Open Stages project which aims to help amateur companies

extend their repertoiresNo the lsquohookrsquo was how this newproduction was Shakespeare ldquobut no asyou micht ken itrdquo Because it had beenreimagined in Scots as A MidsimmerNichtrsquos Dreme

As it happens writer John Burns saysthat his principle reason for translating AMidsimmer Nichtrsquos Dreme was simply theintuition that it being in Scots would workto the benefit of the production ldquoItrsquos not

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Scotland Shakes

40 SHAKESPEARE magazine

so much that 16th century English canrsquot docertain things more that using Scots brings itcloser to a Scottish audience and to audiences who might think Shakespeare too fancyrdquo hesays ldquoI feel too that Scots can catch the sheerphysical power of Shakespearersquos language He writes lines you really feel physically when

you say them out loud My intention was touse Scots to produce a text that was actableand which would be accessible and enjoyablefor the audience and the Scots was a majorpart of thatrdquo

Arguably translating Shakespeare intoScots ndash viewed by many as a distinct languagefrom English ndash is just one way of finding thecontinued relevancies of Shakespearersquos writing with the here and now Certainly John Burns was keen to see if Scots ldquocould match the way

Shakespeare switches tonehellip from broad attimes bawdy humour to moments that aremore serious or even sinisterrdquo

Yet there is a wider perspective whether wersquore discussing translation into Scots orsaying Shakespearersquos words with a Scottishaccent Willy Maley and Andrew Murphyin their introduction to Shakespeare andScotland (published by Manchester UniversityPress in 2004) go as far as describing thetranslation of Shakespearersquos Macbeth into

Scots as ldquoa patriotic actrdquo not least becauseof ldquothe political commitment implicit intranslating from English to Scots reversing

the dominant dubbing practice infi

lmsrdquoGlasgow-based novelist and playwright Alan Bissett ndash who actively campaigned fora Yes vote during last yearrsquos IndependenceReferendum ndash has since written about howsince the 1970s Scottish theatre had ldquoadeep engagement with the shifting beastof Scottish politicsrdquo Although Bissett wasfocusing primarily on original works byScottish playwrights and directors itrsquos worthpointing out that Shakespeare ndash despite therebeing absolutely no evidence to prove he evertravelled north of Carlisle ndash has played hisown part in this

As Maley and Murphy point outldquoScotlandhellip never had precisely the samerelationship with the Bard as England hasbut has experienced a fraught process ofappropriation incorporation and resistancerdquoIn part this is because Shakespeare ndash in hislatter career ndash was among the first lsquoBritishrsquo writers Many of his later plays ndash Cymbeline King Lear even Hamlet ndash were produced

A tartan-cladAntipholus andDromio in Bard inthe Botanicsrsquo TheComedy of Errors

Brian FergusonrsquosHamlet CitizensTheatre productionPhoto by TimMorozzo

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under the patronage of Scotlandrsquos King JamesVI (aka James I of England) Each in theirown way can be said to touch on ldquothe matterof Britainrdquo the complex relationship between

the constituent elements of Jamesrsquos newlsquounitedrsquo kingdom which the Stuart monarch was determined to see joined into oneat never quite happened of course

Even after the 1707 Act of UnionScotland retained its own legal educationaland religious systems along with anaccompanying sense of Scottish identity ndash which survived even the height of the Britishempire Yet from the 1970s on there havebeen notable changes in how Shakespeareis treated by Scotlandrsquos producing theatrecompanies Several years ago GlasgowrsquosCitizenseatre delivered a powerful Romeoand Juliet in part because of their decision toset the action in a present-day sectarian Westof Scotland ndash with accents to match

ldquoEnglish-accented Shakespeare carriesa specific resonance in Scotland one thatdirectors usually choose to avoidrdquo pointsout Mark Fisher a freelance journalist criticand author of the forthcoming book How toWrite Abouteatre

ldquoIrsquom not sure exactly when attitudesstarted to change but Irsquod say the argumentin favour of Scottish-accented productionshad been pretty much won by the 1990sBy that time companies such as Raindogand directors such as Hamish Glen hadbeen making a point of casting very Scottishproductions of Shakespearerdquo

One example of how things hadprogressed even by 1992 was the late KennyIrelandrsquos production of A Midsummer

Nightrsquos Dream his first as Artistic Directorat Edinburghrsquos Royal Lyceum ldquoHe castthe mechanicals with Scottish accents andeveryone else with English accentsrdquo MarkFisher explains ldquois I said in my review wasa fundamental error ndash or some such phrasee message it sent out was that people withScottish accents were foolish figures of fun whereas people with English accents wereserious figures of respect

ldquoIreland reacted furiously to my review

and made the case that he had based thecasting of the mechanicals around (the actor) Andy Gray who has a Scottish accent Inother words the meaning I inferred hadnot been deliberate I think itrsquos true to sayhowever that Ireland never cast a Shakespearelike that againrdquo

Gordon Barr is Artistic Director of

Glasgow-based Bard in the BotanicsScotlandrsquos only professional Shakespearecompany (see following pages)

ldquoWersquove never gone out of our way tomake Scottish versions of these texts norhave we gone out of our way to have classicaltraditional voicesrdquo he says ldquoMost of our coreactors have made their careers up here so wethink of them as Scottish actors

ldquoat is important to us to not overlylook outwards for the acting company As

much as possible we work with people who are based in Scotland Wersquore regularlyproducing Shakespeare here and we want tobe a part of the training to ensure that there isa range of strong classical actors hererdquo

Citizens Theatrewwwcitzcouk

Owen Whitehawas the Fool andDavid Hayman asLear in CitizensTheatrersquos King Lear Photo by TimMorozzo

Scotland Shakes

SHAKESPEARE magazine 41

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Bard in theBotanicsrsquo As You Like

It takes Rosalind andOrlando into theopen air

ldquoTouring is something that we have wanted to do foryears but was somethingthat we could not afford

to do without fundingrdquo says Gordon Barr Artistic Director of Scotlandrsquos only professionaloutdoor Shakespeare festival Bard in theBotanics If therersquos any irony attached tothe companyrsquos first major tour of Scotland which took place in early 2015 itrsquos that theperformances of their acclaimed Romeo and Juliet ndash featuring a cast of five ndash were playedexclusively indoors

ldquoNobody is touring classical theatre in

Scotland at the minute so itrsquos importantto usrdquo Barr adds ldquoOur work is so muchabout accessibility One of the joys of beingoutdoors is that people come to see the work who wouldnrsquot buy a ticket for a theatre Ifyou can bring a picnic sit out on the grass while watching the show it feels easier moreaccessible But people canrsquot come from Thursoto Glasgow for a night just to see a productionof Shakespeare They should be able to see itin Thurso So that is kind of where the urge totour came fromrdquo

Bard in the Botanics has presented outdoorShakespeare within the grounds of GlasgowrsquosBotanic Gardens since 2003 This yearrsquoslsquoUnlikely Wondersrsquo season presented newproductions of Loversquos Labourrsquos Lost The Merchant of Venice Richard II and A Midsummer Nightrsquos Dream in lsquoreprsquo between24 June and 1 August

The companyrsquos founder Scott PalmerBarr explains had done a lot of his training atthe Oregon Shakespeare Festival one of the

biggest in North America ldquoWith the kindof drive and enthusiasm that only Americanshave he managed to convince the entire cityof Glasgow that outdoor Shakespeare would work and that the weather wasnrsquot going to be

a problemrdquoTwo years later Palmer moved on and Barr

ndash originally involved as a director ndash succeededhim as Artistic Director ldquoIf anyone then hadsaid that I would end up spending 12 yearsrunning an outdoor Shakespeare festival I wouldnrsquot have believed themrdquo he says in hisoffice hidden behind some of the Botanicsrsquogardening sheds ldquoI very quickly fell in love with it once I started working here Despiteall the trials and tribulations that outdoortheatre in Scotland brings with it therersquos just

something magical and special about it Itrsquos a very close-knit company and thatrsquos sort of keptus all here as long as we have beenrdquo

While the annual summer season ofShakespeare plays in the Botanics will remainat the centre of what the company does ndashldquoOtherwise Bard in the Botanics becomesa rather strange namerdquo ndash Barr is very much

Outof theGarden

This year has seen Glasgowrsquos Bard in the Botanicsdo something completely unexpected They wentout on a tour of ndash whisper it ndash indoor venueshellip

Scotland Shakes

42 SHAKESPEARE magazine

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Scotland Shakes

SHAKESPEARE magazine 43

focused on building on the touring side ldquoBecause it was our first ever tour we

did end up taking Romeo and Juliet to theestablished Scottish touring circuitrdquo he addsldquoIt takes a while to build up relationships with the smaller venues thatrsquos going to bean ongoing process for us Even so we weretaking Romeo and Juliet to places like Mulland Stranraer ndash communities and venues thathavenrsquot had a lot of classical theatre comingthrough themrdquo

The choice of play was deliberate too ldquoIt was a production that was ready to go whichhad received five star reviews and sold out itsextended run in the Botanics in 2012 So weknew that the work was good but therersquos nodoubt that for a first tour we wanted to makeit easier for the venues to sell it Most venuesknow they can find an audience for Romeo and Juliet rdquo

In time he hopes that audiences aroundthe rest of Scotland will come to trust the Bardin the Botanics name sufficiently to take on theless familiar plays

ldquoYou just donrsquot know how quickly acommunity is going to turn out for Henry IV yetrdquo he says ldquoHopefully three or four toursdown the line theyrsquore going to turn out forBard in the Botanics ndash and if it happens to be

Henry IV well thatrsquos greatrdquoGiven their reimagining of A MidsummerNightrsquos Dream as a 1920s burlesque musicalis there a particular Bard in the Botanicsapproach to Shakespeare

ldquoOur kind of unofficial motto is lsquoBe BoldBe Braversquordquo Barr says ldquoIf wersquore continuingto stage these plays around 400 years afterShakespearersquos death I think therersquos an urgencyto ask lsquoWhyrsquo It is important to questionlsquoWhat is the story that we want to tellrsquo I wantto see how these plays intersect with historyand todayrsquos society not to present museumpieces

ldquoItrsquos always with an eye to try to releasesomething thatrsquos within the textrdquo Barrinsists ldquoWersquore not remotely interested ininnovation for innovationrsquos sake The playsare masterpieces thatrsquos essentially why wersquorestill doing them 400 years later But to revealsomething thatrsquos unexpected or new thatrsquosimportant to usrdquo

Bard in the Botanics

wwwbardinthebotanicscouk

Rosalind and Audreyin the forest Bardin the Botanicsrsquo As You Like It

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Shakespeare at the Tobacco Factory stf 2016 Seasonco-production with Tobacco Factory Theatres

HAMLETBy William Shakespeare

Directed by Andrew Hilton

Main run Thu 11 February ndash Sat 26 March 2016

In repertoire with Allrsquos Well That Ends WellMon 25 ndash Wed 27 April Sat 30 April 2016

The most famous play in world drama Hamlet

turns a new face to every decade So many

elements - political madness sex murder ndash all

brought together in a drama that is both a thriller

and the profoundest meditation on our human

condition

ldquoThrilling workrdquo The Guardian on Romeo amp Juliet

ldquoBullseyerdquo WhatsOnStage on Romeo amp Juliet

Shakespeare at the Tobacco Factory Friends Priority Booking opens Wed 23 September 10am

wwwstf-theatreorguk

Tobacco Factory Theatres Members Priority Booking opens Wed 16 September 10am

wwwtobaccofactorytheatrescom

Public Booking opens Wed 30 September 10am

Tobacco Factory Box Office 0117 902 0344

ALLrsquoS WELL THAT ENDS WELLBy William Shakespeare

Directed by Andrew Hilton

Main run Thu 31 March ndash Sat 23 April 2016

In repertoire with Hamlet

Thu 28 ndash Fri 29 April Sat 30 April

A young woman using skills bequeathed herby her father saves the French Kingrsquos life and

is rewarded with the right to choose her own

husband But what if the chosen one wonrsquot play

the game How can she get him into bed How

can she make him love her

ldquo There is something approaching real

magic hererdquo The Arts Desk on The School for Scandal

P h o t o s M

a r k D o u e t

Dorothea MyerBennett in Richard III

Benjamin Whitrowand Julia Hills in The

School For Scandal

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Having conquered

Hollywood and vanquished

the global entertainment

industry video games now

on our culture So where

does the Bard stand in all of

this We sent a Shakespeare

scholar to investigatehellip

Words Andrew Bretz

Shakespeare video games

46 SHAKESPEARE magazine

T eGamersquos A oot Silent Hill is one

big-name gamewhich includesShakespearereferences

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Shakespeare video games

SHAKESPEARE magazine 47

German cardboard Macbeth datingfrom the early1800s

Hamlet reimaginedRyan Northrsquos To Be

Or Not To Be

W

hen you walk intothe wood panelled Victorian Gothicismof the Gail Kern Paster

Reading Room at theFolger Shakespeare Library in WashingtonDC video games are probably the lastthing on your mind Buried deep withinthe archives however are a set of fragilecardboard figures printed in Germany in theearly 1800s representing each of the maincharacters of Macbeth

Nineteenth century German children would play with these figures on smallcardboard stages no bigger than a dollhouseey could replicate the story as it was toldin Shakespeare or use their imagination tochange the ending letting Lady Macbethsurvive and bringing Duncan back from thedead if they so chosee limits of the game were the limits of their imagination

Today the lsquogamificationrsquo of Shakespeareis a big business from Ryan Northrsquos choose-your-own-adventure edition of Hamlet To Be Or Not To Be to IDW Gamesrsquosupcoming Kill Shakespeare board gamebased on the comic of the same name

Gamifying Shakespeare is filtering intoschools libraries and the theatrical worldas well with the University of California atDavis the Stratford Festival in Ontario theGlobeeatre in London and the LondonMetropolitan Archives all experimenting with video game elements in exhibits productionsand research

Why video games In a sense this is thelogical next step in the media development ofShakespeare Hersquos everywhere in other media

books movies merchandise But videogamese answer for that depends on whoyou ask

StorytellingOccasionally individuals or publishinghouses develop video games that try to tellthe story of say Hamlet yet this is relativelyrare One example would be Elsinore a time-looping narrative adventure game set in the world of the play Players play the game as

Ophelia who wakes up knowing that in fourdays the entire court will be dead and shemust do something to stop ite problemis that she is stuck in a time loop reliving thesame four days over and over againat said Shakespearersquos presence in the

video game industry tends to be focused oncitation rather than adaptation of the playsat is video games for Xbox Playstationand other popular gaming systems often

just cite Shakespearersquos plays as a part of acommon cultural heritageese games donrsquotrestage say Hamlet but they quote the playIn these cases Shakespeare is used to establisha point of identification for the audience His writing tells the audience something aboutthe character or the situation

Given that audiences are supposedto be able to identify the quotations asShakespearean it is unsurprising that Hamlet is the most popular text for game designers to

cite Ine Elder Scrolls Online for instancea merchant NPC (non-player character)quotes Polonius when players interact sayingldquoNeither a borrower nor a lender berdquoe words establish the NPCrsquos role as a merchant while fitting the medieval world of thegame In the game LA Noire upon pickingup a fake shrunken head at a crime scene adetective leaps into high melodrama withldquoAlas poor Yorick I knew him Horatiordquoequotation and the clever voice acting establish

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Shakespeare video games

48 SHAKESPEARE magazine

the characterrsquos strait-laced yet macabre senseof humour

Sometimes citing Shakespeare is a partof a critique of a larger theme In the game Mass E ff ect the Elcor are a race of elephantinealiens who preface all statements with adescription of the emotion they are feelingand who speak in a slow monotonous drone As players interact with the expansive worldthey can discover a number of advertisementsfor an all-Elcor Hamlet e idea of theElcor actor ndash the ultimate in a flat woodenperformer ndash having to preface ldquoTo be or not

to berdquo with ldquomorose ruminationrdquo goes beyondthe simple humour of a bad Shakespeareperformance It subtly asks what it is aboutacting (and especially voice acting) that isvaluable

Shakespeare can appear in video gamesnot merely as a marker or contextualisationtool but as a part of a puzzle For example inthe game Silent Hill 3 players must arrange aset of Shakespeare anthologies on a bookshelfin an abandoned shopping mall in order to

proceed in the game At the hardest levelthe puzzle clue takes the form of a poemthat references all the major tragedies Romeoand Juliet King Lear Macbeth Othello andof course Hamlet e bloody nature of thetragedies fits with the bloody nature of theSilent Hill series of games which fall into thesurvival horror genre

Popular video games have also servedas the inspiration for games that engage with Shakespeare in a more direct way For

example Daniel Fischlin at the Universityof Guelph in Ontario Canada led a teamthat created a Flash game called rsquoSpeare Itrsquos

a scrolling arcade-style game suggesting thersquo80s hit Galaga which sees players identifyingand navigating through a series of enemies who turn into words upon being destroyede player progresses through the levelsby collecting the correct words to createShakespearean quotes learning Shakespeareantrivia along the way

ImmersionOne of the most exciting aspects of videogames is the ability to immerse the player inthe world of the game in a way that othermedia simply cannot do Being able to walkaround Prosperorsquos cell Julietrsquos balcony orto stand before the ghost of Hamletrsquos fatheras he cries out ldquoList list O listrdquo ndash theseexperiences are made possible through videogame technology

Students of Scenic Arts at the Universityof Hildesheim in Germany created Projekt ARIEL or SturmMOD in 2008 using a lsquomodrsquo(or modification) to the engine that runs

the game Far Cry 1 e performance artproject allowed users to experience Prosperorsquosisland interacting with certain parts andexploring others Players could walk aroundan imaginative rendition of Prosperorsquos cell and witness or interact with elements of the playincluding diff erent characters like CalibanProspero and Miranda

Four days to savethe Danish court

Elsinore

Another Hamlet reference this timein LA Noire

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Shakespeare video games

SHAKESPEARE magazine 49

Gina Bloom at the University of Californiaat Davis is presently spearheading a projectthat will be demonstrated in the lobby of theStratford Festival theatre in Ontario Canadathis summere project Play the Knave AShakespeare Performance Videogame lets usersdesign a virtual performance space and thenperform a scene from a Shakespeare playinhabiting this constructed space with anavatar As a Davis insider explains ldquoWe use akinect motion capture camera to capture theuserrsquos skeletal data so that players use theirentire bodies to control their avatarrsquos gesturesonscreen all the while reciting the lines from

Shakespearersquos scenerdquo is literally immersesthe players in the scene

Shakespearersquos Globe eatre in Londontook another tactic regarding immersionin the production of the game HemmingsrsquoPlay Company Hosted on the Playgroundportion of the Globersquos website and thusaimed at an audience of children the gamehas players taking on the role of Hemmingsan Elizabethan bear who leads a troupe oftheatrical animals such as Kit the Cat Dekker

the Dog and Slye the Foxe turn-based game leads players through

the vagaries of Elizabethan theatre practicefrom patronage to lost props and the plagueBy the end of the game players must earnenough money to rebuild the Globe after itburns down during a performance of HenryVIII

Also from Shakespearersquos Globe are twoinnovative video experiences created forchildren aged five to 11 e first Exploring

Shakespeare features two boys on a tour ofthe Globe theatre who sneak off to explorebackstage e video illustrates four plays

using short animations that are keyedto things the boys find backstage etechnology combines live action film andanimation to create an interactive touchablegame Filled with mini-games quizzes andinteresting facts about Shakespeare the gameallows players to click through the narrativeor to stop and learn more as they go along

e second video called Staging It usesthe same technology as the first film but thistime is for the 11-16 age group In this gamee Globe has filmed two actors performingfamous duologues from A MidsummerNightrsquos Dream and Macbeth on the Globestage Rather than shoot it once the actorshave performed their lines in diff erent ways(happy flirtatious defensive and so on)creating several diff erent clips per linePlayers can watch each of the clips and addtheir choice to a dynamic storyboard tobuild up their final scene Impressively theplatform allows for up to 1000000 diff erentcombinations of clips

Apps and Mini-GamesItrsquos when you start to look outside of therealm of popular video game platformslike Xbox or Playstation that Shakespeare

Silent Hill 3 Brush upyour Shakespeare ifyou want to survive

Hemmingsrsquo PlayCompany fromShakespearersquosGlobe

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Shakespeare video games

50 SHAKESPEARE magazine

really starts to pop up wherever you looke ubiquity of Shakespeare is especiallynoticeable when you start to look at apps andmini-games designed for phones and tablets

In 2012 Big Fish Games released aniPhone and iPad game called Hamlet that featured all the main characters ofShakespearersquos play but transposed them intoa save-the-princess narrative puzzle game A time traveller lands in Denmark andaccidentally kills Hamlet and so players mustcomplete his journey for him saving Opheliaand killing Claudiuse Shakespeareancontent is minimal and heavily adapted andyet it fits with the puzzle format in whichShakespeare tends to be found in videogamese Chronicles of Shakespeare Romeo amp

Juliet ande Chronicles of Shakespeare A Midsummer Nightrsquos Dream are lusciously-illustrated puzzle games for the PC In themplayers act as one of the characters from theplays gathering items and clues through aShakespearean environment

Among the literally thousands of appsrelated to Shakespeare that can be found forthe iPad or Android tablet are

e Shakespearean Insult Creator which generates invectives drawn from a wholly Shakespearean vocabulary So nexttime you want to call someone a jerk trysomething more like ldquoou fusty follyfallenfustilarianrdquo

e Shakespeare Translator whichtranslates ldquonormal English words and phrasesinto the words of Shakespeare himselfrdquo

e Shakespeare Fortune Cookie which provides short quotes from the plays

and a small trivia game Shakespeare or Die a game that

scrambles the words of famous quotationsfrom the plays and asks you to identify theplay and character who spoke the line If youmake a mistake however beware the witchesese apps are either explicitly games or

they are coming out of a game-like impulse tomake Shakespeare more accessible to everyone with an internet connection

Brave New WorldsIn a world where Shakespeare is an industrycounted in the millions of dollars per yearit is so easy to forget that Shakespearersquos playsare just that ndash playsere is a sense of joyand fun and happiness embedded in theexperience of watching them Games are oneof the ways that people over the centuries

have tried to recapture that elusive sense ofplayfulness within Shakespeare So it makesperfect sense that now with the advent ofdigital technologies Shakespeare is movinginto the digital world with a vengeance

From big studio games likee ElderScrolls to small apps that can be downloadedfor free from talking bears to immersiveperformance experiences Shakespeare iseverywhere in video games Rather than beingan undiscovered country into which the Bard

is only just beginning to emerge games havein fact engaged with Shakespeare and his works for hundreds of years And they willprobably continue to do so for hundreds ofyears to come

rsquoSpeare is a scrollingarcade-stylegame with addedShakespeare trivia

Hamlet is aShakespeare-themed puzzle fromBig Fish Games

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Meet thy makers

Helen Mears fell into bardolatryduring her teenage years and has

never recovered She is a volunteersteward at Shakespearersquos Globe

which ensures a regular diet of theBard She teaches English Film andMedia at Suffolk New College and isa specialist in teaching Shakespeareusing active methods Her favouriteShakespearean actor is Jamie Parker

and her favourite plays are the SecondHistory Tetralogy She hopes to

finish her Masters in the AdvancedTeaching of Shakespeare very soonFind her on Twitter hipster_hels

Paul F Cockburn is an Edinburgh-based freelance magazine journalist who specialises in writing about

arts and culture equality issues andpopular science Hersquos sufficiently

grey-haired for his English Literaturetraining to have sort of overlapped

with The BBC Television Shakespeareproject saving at least some of the

plays from death by academiaFind him on Twitter paulfcockburn

Jen Richardson first fell in love withShakespeare as a 15-year-old schoolgirl

ldquoHe got under my skin and hersquos still theretodayrdquo After training with a Manchester-based drama tutor she went on to pursuean acting career Drama remains a greatinterest but her focus is now on sharing

her passion for Shakespeare throughher writing In her spare time Jen is

generally down in Stratford-upon-Avonsitting on her favourite bench behind

Holy Trinity ChurchFind her on Twitter The_JenJen

Andrew Bretz is a sessional instructorof English Literature and Drama

specialising in early modern dramaHe has taught at Wilfrid LaurierUniversity the University of Guelph

Brock University and McMasterUniversity For the past two years he

has taught a special summer intensiveat Ontariorsquos Stratford Festival His PhDdissertation was on the representationof sexual violence on the early modern

stage Find him on TwitterAndrewBretz001

Just some of the contributors to this issue of Shakespeare Magazine

Rosalind Lyons is a painter whohas exhibited widely in both mixedand solo shows with work in UK

and international private collections A life-long love of Shakespeare isreflected in many of her paintings

and a particular recent focus isShakespearersquos Globe theatre where shespent a period as artist-in-residenceShe is currently studying for a PhD

in Painting and ShakespeareanTheatre at Anglia Ruskin University

in CambridgeFind her on Twitter roslyons

52 SHAKESPEARE magazine

Contributors

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Page 2: Shakespeare Magazine 08

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At last A magazine with all the Will in the world

Hamlet Shakespearersquos hottest ticketBENEDICT CUMBERBATCH

is Burning at the Barbican

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Welcome to Issue 8 of Shakespeare Magazine

Welcome

SHAKESPEARE magazine 3

P h o t o D a v i d H a m m o n d s

Shakespeare is our greatest most discussed most studied mostwritten-about author And yet we Shakespeare fans are oftenmade to feel that the Bard is some minor niche obsession thatcuts us o ff from what everyone else is getting excited about

So itrsquos great for us when Shakespeare becomes headline news ndashand I mean real news as opposed to the mediarsquos endlessly recycledShakespeare non-stories

Which brings me to Benedict Cumberbatchrsquos Hamlet Undoubtedlya real news story and a real Shakespeare story right now it feels likethe biggest thing to hit London since Henry VIIIrsquos fourth stag partye papers have been having a field day reporting on every aspect of

Benrsquos Barbican performances Some of it has been trivial sure But itrsquosalso touched on interesting subjects What is accepted theatre etiquettendash for journalists as well as fans Why is Hamlet such a pinnacle foractors And what happens if you move its most famous speech to thestart of the play

So this issue wersquore unashamedly celebrating Benedict Cumberbatchrsquos

Hamlet If yoursquore new to Shakespeare you probably donrsquot know thathe wasnrsquot actually the most popular and successful playwright of hisday But 400 years later hersquos the undisputed number one And thatrsquosdefinitely something to shout about

Enjoy your magazine

Pat Reid Founder amp Editor

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Contents

Shakespeare MagazineIssue Eight

August 2015

Founder amp EditorPat Reid

Art EditorPaul McIntyre

Staff WritersBrookeomas (UK)

Mary Finch (US)

WritersLiz Barrett

Andrew BretzPaul F CockburnRosalind LyonsHelen Mears

Jen Richardson

Chief Photographer Piper Williams

Thank YouMrs Mary Reid

Mr Peter RobinsonMerchant Taylorsrsquo School Crosby

Web designDavid Hammonds

Contact Usshakespearemagoutlookcom

FacebookfacebookcomShakespeareMagazine

Twitter UKShakespeare

Website wwwshakespearemagazinecom

4 SHAKESPEARE magazine

At last A magazine with all the Will in the world

Issue 8FREE

Hamlet

SweetHomeShakespearersquosStratford-upon-Avon itrsquos our

essential guide

ScreenSavers

Video GamesThe future of

Shakespeare

NativeTongues

The sound ofShakespeare

in Scotland

Paintingthe BardThe haunting

Shakespeare artof Rosalind Lyons

Shakespearersquos hottest ticketBENEDICT CUMBERBATCH

is Burning at the Barbican

6 BigBen

Itrsquos the Shakespeare event

of the Year BenedictCumberbatch is Hamlet

18 No PlaceLike Home

Back to where it all began

exploring Shakespearersquos hometown Stratford-upon-Avon

28 PaintingShakespeare

Magical haunting and dream-like the Shakespeare art ofRosalind Lyons

34 Killingthe King

Actor Aidan OrsquoReilly tells ushow hersquos preparing to playShakespearersquos Richard III

39 BonniePrince Billy

You havenrsquot heard Shakespeareuntil yoursquove heard it in theoriginal Scottishhellip

44 e Gamersquos

AfootCould the dizzying digitalworld of video games be

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Benedict Cumberbatch

6 SHAKESPEARE magazine

BigBen

ldquoHow weary stale fl at and unpro fi table

Seem to me all theuses of this worldrdquo [I 2]

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Perhaps the quintessentially English actor

Benedict Cumberbatch is taking on the

quintessentially English poet and playwright

William Shakespeare His new Hamlet

is the fastest-selling production in London

history but which other Shakespeare roles

has Benedict played And how does he feel

about tackling The Big One

Words Helen Mears Photos Johan Persson

Benedict Cumberbatch

SHAKESPEARE magazine 7

Lyndsey Turnerrsquos 2015production of Hamlet

features striking setdesigns by Es Devlin

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Benedict Cumberbatch

8 SHAKESPEARE magazine

and Romeo and Juliet playing Orlando andBenvolio respectively

Shakespeare does not feature again inCumberbatchrsquos CV Instead he worked his way through acclaimed TV work such as hisportrayal of Steven Hawking in 2004 bio-drama Hawking and his role as the troubledartist Vincent Van Gogh in 2010rsquos VanGogh Painted with Words and film roles in Atonement (2007) and The Other Boleyn Girl (2008) before breaking big in 2010 with theBBCrsquos Sherlock The programme was a world- wide success and propelled Cumberbatchonto the acting A-list Since then he hasfeatured in Star Trek Into Darkness (2013) 12Years a Slave (2014) and two of the Hobbit films (2013-14) in which he voiced thedragon Smaug He also made a huge successof The Imitation Game (2014) in which heplayed codebreaker Alan Turing

Now Benedict is returning to Shakespeare with vengeance with two major roles on

stage as tragic hero Hamlet and on BBCTV as arch-villain Richard III in The HollowCrown The Wars of the Roses A taster came inthe BBCrsquos Lifetime of British Drama promo where he beautifully recites the Seven Agesof Man speech from As You Like It over clipsfrom classic BBC dramas past and present

Incredibly Cumberbatch is himself adistant descendant of Richard III The actorread Carol Ann Duffyrsquos specially-composedpoem lsquoRichardrsquo at his ancestorrsquos re-interment

at Leicester Cathedral in March 2015 Hefelt honoured to have been involved and itseemed particularly apt that he was filmingthe role of Richard at the time of thishistoric event ldquoHaving just played his verydifferent Shakespearean characterisationrdquo

Benedict will beseen as Richard IIIin the second cycleof the BBCrsquos The

Hollow Crown

B enedict Cumberbatchrsquos professionalrelationship with Shakespeare began early inhis career back in 2001 He appeared in theNew Shakespeare Companyrsquos productions inRegentrsquos Park playing the King of Navarrein Loversquos Labourrsquos Lost and Demetrius in A Midsummer Nightrsquos Dream As he told Whatrsquos

On Stage in 2005 ldquoThey were my first twoprofessional roles in the theatrerdquo In theinterview he also stated that Shakespeare was his favourite all-time playwright Thispresumably influenced his decision to returnto Regentrsquos Park in 2002 for As You Like It

ldquoYou wouldnrsquot look twice at Richard Hersquos avery dangerous charming powerful manrdquo

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Benedict with MartinFreeman (left) in theBBCrsquos Sherlock

Rehearsals forHamlet July 2015

Benedict Cumberbatch

SHAKESPEARE magazine 9

he commented ldquoI was intrigued to see whatthe real historical event would be like andto be a part of this extraordinary moment ofremembrance Then what really sealed thedeal was this beautiful poemrdquo

Benedict feels that the discovery ofRichardrsquos remains has changed peoplersquosperceptions ldquoI think the debate in historicaland archaeological terms about the reality ofhim and his kingship is whatrsquos extraordinaryto witness nowrdquo

He also recognises the perilous appealof Shakespearersquos Richard ldquoYou wouldnrsquotlook twice at him necessarilyrdquo he said ldquobutonce he had you in his beamhellip Hersquos a verydangerous charming powerful manrdquo

Cumberbatch was boldly instrumentalin Dame Judi Denchrsquos appearance in TheHollow Crown The Wars of the Roses Heattended a Shakespearean workshop eventat which the veteran actress was appearing When the audience were asked if they hadany questions he leapt into action askingldquoWould you like to be in Richard III withmerdquo Dame Judi naturally accepted

And fans of Sherlock will already knowthat Andrew Scott who played criminalmastermind Moriarty will also be appearing

in The Wars of the Roses as the French KingLouis

But itrsquos Cumberbatchrsquos run as Hamlet

at Londonrsquos Barbican that is arguably the Shakespeare event of 2015 It sold out inrecord time (although the venue promisethat day tickets will be available for eachperformance) as fans worldwide foughtfor their chance to see Benedict play theDane It is clearly the fruition of a dream forCumberbatch Indeed when asked at 2012rsquos

Cheltenham Literary Festival which play he would choose if he could only perform onemore stage role he opted for Hamlet ldquoEveryactor wants to have a go at itrdquo he said ldquoand I want to have my go at it and I will But wersquore working out when and howrdquo

Well the ldquowhen and howrdquo is right nowBenedict Cumberbatchrsquos career has come fullcircle from his first professional performanceof Shakespeare to playing his dream role Ifyoursquore lucky enough to have a ticket yoursquoll

be witnessing the most talked-about andfeverishly-anticipated theatrical event in yearsIf not therersquos always those queues for daytickets Wersquoll see you there

Hamlet runs at the Barbican Theatre

London until 31 October

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Shakespeare On Sale

SAVE 25 Since 1941 Dover Publications has built its reputation by offering remarkable books at

amazing prices Discover our fine catalog of the works of William Shakespeare

The complete collection of comedies historiesand tragedies all in compact 5rdquo x 8rdquo unabridgedpaperback editions The lowest-priced editionsavailable for todayrsquos educators students actorsand Shakespeare lovers of every kind

Complete and unabridged text of a play plus acomprehensive study guide with scene-by-scenesummaries explanations and discussions of the plota question-and-answer section and more

Calla Editions reg Books of Distinction for the Contemporary Bibliophile

Our premium imprint features impeccable hardcover reproductionsof some of the most beautiful books ever published Filled with

breathtaking artwork and other deluxe features each Calla Editionrecalls a time when bookmaking was considered an artform

wwwdoverpublicationscomwilliam-shakespeare

To SAVE 25 Click Here

NO minimum order required bull Use CodeWLA2 at checkout bull Expires 123115

P l u s M or ehellip

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G A L L E R Yamp R E V I E WFor a generation of Cumberbatch fans lsquoBenedict at the Barbicanrsquo is the

most sensational and controversial Shakespeare production of a lifetime

Images Johan Persson Words Liz Barrett

Hamlet

ldquoTo be or not to be ndashthat is the questionrdquo[III 1] Controversially the playrsquos most iconicspeech was moved to the beginningAs we went to press however thisdecision had apparently been reversed

Benedict Cumberbatch

SHAKESPEARE magazine 11

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Benedict Cumberbatch

12 SHAKESPEARE magazine

ldquoA villain kills my father and for thatI his sole son do thissame villain sendTo heavenrdquo [III 3]

ldquorsquoTis in mymemory lockrsquod And you yourself

shall keep the key of itrdquo[I 3] Ophelia (Siacircn Brooke)

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Benedict Cumberbatch

SHAKESPEARE magazine 13

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Benedict Cumberbatch

16 SHAKESPEARE magazine

ldquoAnd yet to me whatis this quintessence

of dustrdquo [II 2]

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Even more than London there

is one place above all that is

green and pleasant landhellip

Words Helen Mears

Pictures Helen Mears and Susan Braund

Stratford-upon-Avon

SHAKESPEARE magazine 19

W e could be in any smallpicturesque Englishtown with its medievalchurch half-timberedTudor buildings shops

restaurants and delightful riverside walksBut Stratford-upon-Avon is not just any

town Itrsquos one of the best-known most- visited and probably most-loved locations inEngland Thatrsquos because itrsquos the birthplace of William Shakespeare Itrsquos also the place heseems to have considered his home After allShakespeare grew up there went to schoolthere and spent his final days there

So here is Shakespeare Magazinersquos on-the-ground guide to Stratford-upon-Avon Hereyoursquoll find hints and tips for first-time visitorsand returning aficionados alike What to see

the best ways to see it where to stay where toeat and how to get around while yoursquore there Are you ready Then letrsquos start our tourhellip

The BirthplaceSurely the must-visit spot for any self-respecting Bardolator this is where it all beganndash the six-roomed Merchantrsquos House on HenleyStreet where in April 1564 Mary Shakespeare wife of glover John gave birth to their famousson Williame house is approached

HOME

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20 SHAKESPEARE magazine

through the Shakespeare Centre on the left-hand side of the Birthplace A short exhibitionshows you items such as a prized First Folioand the foot of Stratfordrsquos Old Market Cross

from where glover John Shakespeare wouldhave sold his wares A walk through the gardens leads to

the house itself You enter through theself-contained annexe where William and Anne Shakespeare spent the first years oftheir married life and where their childrenSusannah Judith and Hamnet were born eannexe was later occupied by Williamrsquos sister Joan You can walk through the parlour andthe dining room to Johnrsquos workshop where heproduced gloves and other leather goods

A staircase leads to two bedrooms onefor the girls one for the boys and a loft spaceis visible where the apprentices would haveslept Finally you reach the birth room themain bedroom in which William and his sevensiblings were born

Guides are on-hand in all rooms to tell youtheir history and other gems of informationComplete your visit by watching classicShakespearean speeches performed in thegarden by resident acting troupe Shakespeare

Aloud and then picking up some souvenirs inthe gift shop and excellent bookshop

e five house ticket is the best value givingyou entry to all of the properties (HarvardHouse is a current alternative to New Place)and allowing you to view Shakespearersquos Gravein Holy Trinity Church

The Avon and Boat trips A walk along the Avon is a must in any seasone gentle stroll from the RSC to Holy Trinity

Church will take you past drooping willowssmoothly sailing swans and green parklandFor a diff erent perspective on the town you cantake a boat trip along the river itself Startingfrom near the RSCeatre you cruise gentlydown to the church where Shakespeare wasbaptised and buried before turning back andheading past the theatre and under CloptonBridge Itrsquos a bridge that William himself would have known built as it was around1480 e Avon is very pretty everywhere

you look are the incredible tame (and alwayshungry) swans and picturesque houseboatse banks are lined with weeping willows that just might have been the inspiration for poorOpheliarsquos watery end in Hamlet If you wouldrather take a slower self-driven trip there arerowing boats canoes and small speedboatsfor hire Beware though these are not aseasy to control as they look and you may wellspend a good proportion of your allottedtime relearning how to row and avoiding

Stratford-upon-Avon

The birth roomat ShakespearersquosBirthplace

Molly fromShakespeare Aloudin the Birthplacegarden

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SHAKESPEARE magazine 21

other hapless river tra ffic Boat trips typicallylast for around 40 minutes and are especiallypleasant in the late afternoon when the sun setsslowly behind the church steeple For addedluxury you can take a restaurant cruise where

afternoon tea or an evening meal are served onboard or as a quicker cheaper alternative youcould take the chain ferry across the Avoneferry dates from 1937 and is the last of its kindin the UK

Nash House and New Place

As well as the Henley Street property theShakespeare Birthplace Trust care for fourother locations in and around Stratford allassociated with Williamrsquos family Nash House

and New Place were adjoining propertieseformer was the home of Judith Shakespeareand her husband while the latter was thefamily home that William purchased in 1597at the time the second most expensive housein the town Sadly it was demolished by asubsequent owner but the Trust are currentlyundertaking a massive renovation of the siteis means that the properties will not be opento the public until 2016 to coincide with the400th anniversary of Shakespearersquos death

Hallrsquos Croft

A brief walk from New Place will take youto Hallrsquos Croft the home of SusannahShakespeare and her husband the physician John Hallis is an interesting property in its

own right and is partly set up to show how apractising physician would have worked at thetime A special mention too must goe Arterthe award winning independent craft shopadjoining the building and to the beautifulgarden in which open air performances ofShakespearersquos plays are sometimes performed

Stratford-upon-Avon

Holy TrinityChurch viewedfrom the Avon

Nash House andNew Place

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22 SHAKESPEARE magazine

Anne Hathawayrsquos Cottage A short distance from Stratford is Shottery where you can find the beautiful cottage

which was the home of the Hathaway familySet in yet another lovely garden this is thehouse in which Anne Hathaway grew upand was courted by the young William JohnShakespeare served with Anne Hathawayrsquosfather on the town council so their childrenprobably knew each other from a young agee family remained associated with thecottage for several centuries and have spunmany a yarn about the young lovers theveracity of which are highly questionable

However the stone floor of the kitchen isoriginal and we know that William must have walked those stones many many times

Mary Ardenrsquos Farme last of the Shakespeare properties is Mary Ardenrsquos Farm Shakespearersquos mother lived hereand itrsquos where she probably took the infant William when plague broke out in Stratfordshortly after his birth Open from March toNovember only the farm is run as a working

Tudor farm with costumed guides caring forthe buildings and the animals Itrsquos a great placefor a family day out with plenty to see and doand numerous activities runningere are

daily falconry shows archery animals to feedand games to play You can even treat yourselfto a genuine Tudor meal in the cafe ndash pottageand home-baked breads are a speciality

What if you donrsquot have a care town itself is fairly small and all themain attractions are within walking distanceHowever the easiest way to get around and toenable a visit to Anne Hathawayrsquos Cottage andMary Ardenrsquos farm is to the Hop On-Hop Off City Sightseeing busis will take you to allthe main town locations and also to Shotteryand Wilmcote A day ticket will give youunlimited access to the buses and allow you tovisit all of the Shakespeare properties e buscan be picked up by the statue of Touchstonethe jester at the top end of Henley Street

Walking Tours Another excellent way to see the main sites ofStratford and to learn some of the historicaltales of the town is to take a walking tour

Stratford-upon-Avon

Anne HathawayrsquosCottage

Mary Ardenrsquos Farm

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ere are several options depending on thetype of tour yoursquod likee town guides runhistorical tours of the town every day (yesevery day) of the year For those who like to be

a bit more daring there are evening ghost walksled by costumed guides who will tell you someof the spooky tales of Stratford Both of thesetours start from the Swan Water Fountain onthe riverside

Or if you like the idea of being guidedby Shakespeare himself on a Saturday (andMonday to Saturday through the summerholidays) there are town walks led by the manhimself (or someone who looks an awful lotlike him)ese run from Tudor World onSheep Street an interesting museum in thehouse that belonged to the man who wasallegedly the model for Sir John Falsta ff

Holy Trinity Church Another must-see is the townrsquos 13th centurychurch with its distinctive spire that dominatesthe view from the river Remember that if youhave a ticket to the Birthplace properties yourvisit to the grave is free e church is famousfor being where William Shakespeare wasbaptised on 26 April 1564 e old font that

was used for the baptism is displayed in thechancel along with copies of both the registerof baptism for April 1564 and the register ofburials for April 1616 where Shakespearersquosname can be clearly seen Also in the chancelin front of the altar are the Shakespeare familygraves Williamrsquos bears its infamous curse

ldquoGOOD FRIEND FOR JESUSSAKE FOREBEAR

TO DIGG THE DVST

ENCLOSED HEREBLESTE BE YE MAN YT SPARESTHESE STONES

AND CURSED BE HE YT MOVESMY BONESrdquo

On the wall above the grave is the effigy of

Shakespeare Itrsquos one of the few images which was produced within the lifetime of AnneShakespeare and probably one of the mostauthentic likenesses of her husband

The Guildhall and King EdwardrsquosSchoolDirectly opposite the site of New Place standthe Guildhall and the townrsquos old grammarschool Both of these places have links to theShakespeare family King Edwardrsquos Schoolis where the young William is believed tohave studied and itrsquos probably where hefirst encountered the classical texts which soinspired him As the son of a town councillorhe would have been entitled to a placee

old school is sometimes open to visitors at weekends or during the holidays but theschool has just won a lottery grant whichshould enable them to open it as a permanentattraction e Guildhall was sometimes hostto groups of travelling players and so it couldbe the site where young William first sawtheatrical performances It is widely believedthat John Shakespeare owing to his role astown bailiff was responsible for supervising the whitewashing of the medieval Doom Painting

Stratford-upon-Avon

SHAKESPEARE magazine 23

The GuildhallDoom Painting

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24 SHAKESPEARE magazine

Stratford-upon-Avon

is has been recovered and is now once againvisible above the chancel arch

The Royal Shakespeare CompanyTheatre and the riversidee riverside park is home to several interestingsights It is from here that you can get a view ofthe Clopton Bridge pick up a river cruise feedthe swans and admire the Gower Memoriale memorial was presented to the town in1888 and features a statue of Shakespeareseated upon a plinth overlooking statues offour of his best known charactersese areHamlet Prince Hal Sir John Falsta ff and Lady

Macbeth who represent Comedy HistoryPhilosophy and Tragedy Closer to the theatreis the beautiful Swan Water Fountain unveiledin 1996 If you see the water frothing fear notit seems to be a sport amongst local youngstersto fill the fountain with washing up liquid on aregular basis

e Royal Shakespeare Companyeatre was built in 1932 but has recently undergonea complete refurbishment in both the mainand the Swan theatres e building reopened

in 2010 with both theatres having beenconverted to boast thrust stages and curvedgalleries similar in shape to the originalElizabethan playhousese world renowned

Royal Shakespeare Company performshere throughout the year staging plays byShakespeare and his contemporaries as well asby newer authors ey also run an educationprogramme exhibitions family activitiesduring the school holidays and theatre toursTo see Stratford from an entirely diff erentangle take the lift up the 36 metre high towerfor spectacular views across the town

Where to eat and drinkStratford has an excellent range of eateriesto suit all tastes and budgets ere is pubgrub afternoon teas world cuisine finedining pizza pasta and fish and chips Manyrestaurants off er pre-theatre menus and ifyoursquove been on a town walk you may find thatyou can get discount vouchers for your foodere are many pubs in Stratford including theGarrick Inn the oldest pub in the town whereyou can taste the Shakesbeer specially brewedto celebrate Shakespearersquos 450th Birthday in2014 If you want to spot RSC cast members

relaxing after their showse Dirty Duck on Waterside is the place to drink

Where to stay Again Stratford-upon-Avon has a good varietyof hotels bed and breakfasts and holidayhomes All the main chains have hotels inthe town from budget brands to the luxurynamesere is an excellent choice of bedand breakfast establishments in and aroundthe town again these will suit all tastes and

budgets Airbnb also has an interesting rangeof rooms flats and houses to rent in StratfordHowever be sure to book early especially forthe prime summer months

The Shakespeare Birthplace Trustwwwshakespeareorguk

The GowerMemorial Will andPrince Hal

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M

any places around the worldhave been named afterStratford-upon-Avon thebirthplace and home of William

Shakespeare And many of those Stratfordsare home to theatre festivals of varying sizesStratford in the state of Victoria in Australiahas an annual Shakespeare festival still goingevery year while Stratford in Connecticut inthe USA had a major theatre from the mid1950s to the mid 1980s Stratford Ontarioin Canada however stands out among thesetowns and festivals not merely in scope but ininternational reputation and prestige

In 1950 Canada had no home-growntradition of classical theatre Certainly

Shakespeare was performed but there hadbeen a strong anti-theatrical movement inCanada throughout the 19th century whoseeffects still lingered throughout the first half ofthe 20th As a cultural icon Shakespeare wasedifying to be sure but certainly not to beperformed The Stratford Festival changed allof that for Canada

In the late 1940s the local newspapers andgovernment of the town conceived of the ideaof revitalising Stratfordrsquos sagging economy by

capitalising on the name of the town and its

long association with the Bard They bandedtogether and under the leadership of TomPatterson they brought over Tyrone Guthrieand Alec Guinness for the first season in1953 Guthrie had famously directed Gielgud

inHamlet

at Elsinore Castle in Denmarkand had been the manager of the Old Vic inLondon He wanted to create an acting spacethat echoed the original Globe theatre whereactors were surrounded by the audience incontrast to the proscenium arch theatres thatdominated the London and New York scenes

From the first performance which tookplace inside a giant circus-style tent on thebanks of the Avon River the festival workedto create a new aesthetic of Shakespeareanperformance The thrust stage of the FestivalTheatre designed by Tanya Moiseiwitschhas been recognised as one of the greatinnovations in stage design of the 20th centuryGenerations of actors have had to learn howto address an audience on three sides of themsometimes only an armrsquos length away

The festival has been central to the careersof Canadian actors such as ChristopherPlummer Martha Henry and even WilliamShatner Actors from the US and UK havesought to play the festival as well including

Peter Ustinov Christopher Walken and JessicaTandy Indeed these international stars notonly lend credibility but have indelibly markedthe festival For instance Maggie Smithrsquosperformance as Rosalind in As You Like It inthe 1977 and 1978 seasons is legendary in thecompany and the town

Today the festival has expanded to includemultiple performance spaces a theatre schooluniversity accredited courses and the largesttheatrical costume shop in North America

It has started countless careers inspiredcompanies such as Torontorsquos SoulpepperTheatre and helped shape the Canadiantheatre landscape for over 50 years

Stratford Festival ndash Ontario Canada

wwwstratfordfestivalca

MEANWHILE

IN CANADATherersquos more than just one Stratford you knowAnd the one in Ontario Canada has a world-renownedShakespeare Festival gives us a tour

Stratford Ontario

SHAKESPEARE magazine 25

ldquoFrom the fi rst performancethe Festival worked tocreate a new aesthetic ofShakespearean performancerdquo

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Planning to performa short selection

from Shakespeare

The 30-Minute Shakespeare

Anthology contains 18 abridged

scenes including monologues from

18 of Shakespearersquos best-known plays

Every scene features interpretive stage

directions and detailed performance

and monologue notes all ldquoroad testedrdquo

at the Folger Shakespeare Libraryrsquos

annual Student Shakespeare Festival

THE 30-MINUTE SHAKESPEARE is an acclaimed series of abridgments that tell the story of each play while keeping the beauty ofShakespearersquos language intacte scenes and monologues in this anthology have been selected with both teachers and students inmind providing a complete toolkit for an unforgettable performance audition or competition

NICK NEWLIN has performed a comedy and variety act for international audiences for more than 30 years Since 1996 he hasconducted an annual teaching artist residency with the Folger Shakespeare Library in Washington DC

The 30-Minute Shakespeare series is available in print and ebook format at retailersand as downloadable PDFs from 30MinuteShakespearecom

The 30-Minute Shakespeare Anthology

includes one scene with monologue

from each of these plays

ldquoLays the groundwork for a truly fun and sometimes magical

experience guided by a sagacious knowledgeable and intuitive

educator Newlin is a staunch advocate for students learning

Shakespeare through performancerdquo mdashLibrary Journal

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Roaslind Lyons

28 SHAKESPEARE magazine

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For UK artist Rosalind Lyons the Bard is a

constant presence in her creative life She tells

us how Shakespeare inspired the haunting and

dreamlike works that adorn these pages

Words and paintings by Rosalind Lyons

Rosalind Lyons

SHAKESPEARE magazine 29

Left TheRoaring Boys

PAINTINGSHAKESPEARE

S hakespeare has long been at the heart ofmy work sometimes directly and obviouslyin the subjects and often in the titlesBut always Shakespearersquos words charactersand stories are there in my head when Iam painting ndash a perpetual conscious andunconscious presence

My style echoes that of the Renaissancepainters and Elizabethan portraits andthese influences combined with a life-long love of Shakespeare made my firstvisit to Shakespearersquos Globe pivotal Iexperienced a powerful sense of connectionand recognition Here suddenly ideasand themes with which I had been so longpreoccupied were brought to life

I subsequently gained access to theGlobe to draw and later spent some time

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as Artist in Residence thereat experienceprompted more in-depth exploration notonly of Shakespeare and painting but of therelationship between painting and theatreere are of course the strong visualconnections ndash both are spaces for spectacleand illusion But also compelling ideas oftransformation imagination storytelling andidentity And overall the theme of ambiguitye blurring of boundaries between realityand fiction male and female light andshadow past and present I am fascinated byhow we respond to history how we re-presentand re-imagine the past And the figures inmy paintings are imagined as belonging toboth now and then ndash flitting back and forthacross the threshold between past and presentbetween Shakespearersquos time and our own

modern worldI have painted some specific characters

from Shakespeare but many subjects ofmy paintings are anonymouse figuresare unknown their place purpose role is amysteryis anonymity is unsettlingereare clues in the setting in the costumes ndash orperhaps I should just say in the clothes theyare wearing ndash but the context is not obviousI am fascinated by the dramatic convention ofcross-dressing ndash and particularly the inherent

confusion as with Rosalind ( As You Like It )and Viola (Twelfth Night ) in the idea of aboy playing a girl playing a boy Many of thecharacters I invent are androgynous theirgender and age uncertainis ambiguityof identity interests me in the context ofvisual illusion and theatrical transformationthe idea of inbetween-ness and somethingunresolved

Like theatre my paintings are concerned with inventing characters and the creation

Right No MoreYielding But A

Dream

Roaslind Lyons

30 SHAKESPEARE magazine

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of an imaginary world and I am particularlyattracted to the fools fairies and witchesIn A Midsummer Nightrsquos Dream the fairiesrsquoactions may seem malevolent or benign or just mischievous but there is definitely a dark

side an underlying sense of threate Fool too is intriguing Shakespearersquosfools frequently describe themselvesor are referred to as a nobody but areunquestionably much moree fool is anoutsider concerned with but at the same timeseparate from the story He ndash or sometimesshe ndash doesnrsquot quite belong anywhere butseems to exist on the boundary between thefamiliar and the uncanny

I am attracted to the strange to mysteryand shadows and try to express through myimages a strong feeling that it could be thator maybe something else As Orsino says atthe conclusion of Twelfth Night ldquoA naturalperspective that is and is notrdquo While makinga painting and even when it is finished Idonrsquot know really who my characters are ndashthey remain elusive But I like not knowingand ultimately meanings always change anddepend on individual perceptions

My experience at the Globe led to aparticular fascination with the ambiguous and

protean quality of the theatrical performerhow their identity transforms and fluctuatesI was attracted by this when watching

Rosalind Lyons

SHAKESPEARE magazine 31

Above A MidwinterNightrsquos Dream

Right Three Fools

Far right FollowingDarkness

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rehearsals observing actors shift between selfand impersonation between diff erent realitiesand identities When they are not acting theyndash metaphorically and often literally ndash melt

into the shadows I am interested too in thephysical and symbolic threshold between lsquoonrsquoand lsquooff rsquo-stage the transformation inherentin an actor moving from the wings onto thestage assuming another self and anotheridentity Particularly evocative is the fact thatactors were colloquially known as shadowsin the Elizabethan playhouses ndash suggestingsomething unknowable and insubstantialIn the Prologue to Henry V Shakespeare hasthe Chorus describe the players as lsquociphersrsquoimplying deception and secrecy

Artists in the past who have tackledShakespeare have generally produced imagesthat directly illustrate the text or representfamous actors or scenes from a particularperformance Today as well as on the stageShakespearersquos plays are frequently re-imaginedin very successful film and TV adaptationsbut I have struggled to find more than ahandful of contemporary fine artists whohave engaged with Shakespeare on any levelPerhaps Shakespeare as a subject is seen

by some as too traditional too lsquopopularrsquoor simply just too lsquooldrsquo But in the theatreand in literature there is an ever-increasingenthusiasm for innovative interpretationsof the plays and for me Shakespeare is aconstant inspiration

e Prologue of Henry V also urges theaudience to ldquoPiece out our imperfections withyour thoughtsrdquo to liberate the imaginationand create another kind of reality to shapeour own fantasies within the ldquowooden Ordquo of

the theatre In my paintings I endeavour todo the same

Explore the work of Rosalind Lyons atwwwrosalindlyonscom

Above These Two CreaturesBelow Therersquos Magic In Thy Majesty

Roaslind Lyons

32 SHAKESPEARE magazine

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$amp( ) +-01

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Aidan OrsquoReilly

34 SHAKESPEARE magazine

Looking forRichard AidanOrsquoReilly is playingShakespearersquosbaddest monarch

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Aidan OrsquoReilly

SHAKESPEARE magazine 35

You are legally blind having been

diagnosed with retinoblastoma as an

infant How did this impact on your

acting aspirations and early career

ldquoMy parents did a good job raising me Inever grew up thinking of it as a handicap orthinking it could hold me back from what I wanted to do I couldnrsquot play sports at all soI think my parents were grateful that I hadsomething that I was passionate about from avery young age

ldquoI went to a public elementary school with a program designed for the blind so itfelt very natural for me to be the way that I was And acting has always been part of thatrdquo

You went to RADA in London Was

there a reason why you wanted to

train in England and not in the US

ldquoItrsquos always been an ambition of mine to

travel as far and wide as possible Also myhero growing up was Peter OrsquoToole ndash Iread his autobiography in high school andlearned he had gone to RADA and decided I wanted to go there too So I auditioned therenot knowing that RADA is arguably thebest drama school in the English-speaking world Consequently I was quite relaxed atthe audition which is probably why I gotin My ignorance can sometimes serve me well Going to RADA was a life-changing

Aidan OrsquoReilly is an actor with an

inspiring story Legally blind since he

was six months old he forged a passionfor drama at an early age Aidan went

on to gain a BA with honours from

Londonrsquos Royal Academy of Dramatic

Art before touring for three years with

the American Shakespeare Center

In 2012 Aidan was diagnosed with

sarcoma a rare cancer He bounced

back in 2014 after intensive treatment

and is now cancer-free We spoke to

Aidan as he prepared to play the title

role in Richard III for Californiarsquos Marin

Shakespeare Company We asked himto share his story and to give us his

take on one of Shakespearersquos most

fascinating characters

Interview by Jen Richardson

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Aidan OrsquoReilly

36 SHAKESPEARE magazine

experience I was lucky enough to havecontact with brilliant professors and Irsquom stillin awe of the students I went to school withI wouldnrsquot trade that experience for anythingrdquo After graduating from RADA you

went on the road with the American

Shakespeare Center Tell us a bit

about that

ldquoThat was one of the happiest times of mylife In many ways I got spoiled I was a working actor 11 months out of the yeartouring nationally seeing parts of the USI had never been to before doing plays Iloved and working with directors who werevehemently faithful and respectful to the text When I wasnrsquot on the road I was in residenceat the Blackfriars Playhouse in StauntonVirginia with many extraordinary actorsI was very lucky to be thererdquo

Three years ago you were diagnosed

with sarcoma How did you

overcome this enormous challenge

and return to the stage in 2014

ldquoThe only reason Irsquom still alive is because ofmy mother Lily and my wife Jocelynn AlsoI was fortunate that we caught it before it hadspread and it was on my leg and away fromany major organs

ldquoI am very grateful for my team of doctorsat UCSF who did an incredible job in mytreatment and follow-up care Irsquom glad to beback to workrdquo Yoursquore now due to play Richard III

with Marin Shakespeare Company

Howrsquos it going so far

ldquoAt this point Irsquom in the paperwork stage

of things A lot of reading the HenryVI s biographies of Richard as well asperformance history of the play itself Irsquomdoing a fair amount of limping around myapartment as well I canrsquot wait to get intorehearsals next weekrdquo Tell us about Marin Shakespeare

Company and what appealed to you

about working with them

ldquoRobert and Lesley [Currier MSCrsquos Artistic

Director and Managing Director] arefascinating people Their intelligence andhumour is contagious Without questionthere is a lot to be learned from themrdquo Richard IIIrsquos remains were discovered

in 2012 and reburied this year Is all

the new information about Richard

influencing your portrayal

ldquoYes and no My job isnrsquot to play the historicalRichard but the Richard that Shakespeare has

Aidan believesthat Richard IIIrsquosobsession withcontrol is whatcauses his downfall

ldquoPeter OrsquoToole wasmy hero He went to

RADA so I wanted to go there toordquo

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Crowning gloryAidan with MarinShakespearersquosRobert Currier

created Itrsquos helpful to know the facts of thesituation in order to gain insight into whathas been changed in Shakespearersquos versionof events

ldquoI met with a friend of mine who is a

retired surgeon who walked me through themedical information that has come to lighton Richardrsquos body and I will certainly usethat to inform my physical choicesrdquo Unlike many actors yoursquore the right

age to play the historical Richard III

Do you feel Richardrsquos relative youth

has been overlooked

ldquoI do Richard is a young man who believeshe is hardened by the experiences he andhis family endured during the War of theRoses and believes himself to be beyondhuman emotions and the lsquorestrictionsrsquo of aconscience He isnrsquot He pays the bill for thehorrible things he does That lack of self-knowledge is not exclusive to youth but I feelit makes him more sympathetic and relatableto an audiencerdquo Some people think Richard III shows

Shakespeare delivering a highly

effective piece of Tudor propaganda

Where do you stand on thatldquoI think Shakespeare has a soft spot foroutsiders and underdogs Although his playssometimes work within the confines of thebiases of Elizabethan society he canrsquot help butmake his lsquovillainsrsquo fascinating human beings

For as horrible as Richard is itrsquos amazing tosee how audiences relate and respond to himrdquo Which other important themes do

you feel Shakespeare deals with in

the playldquoThe history plays are full of extraordinarypeople who waste their lives and intelligence who sacrifice their humanity in pursuit of thecrown Itrsquos still happening today What is theattraction of power Richard never pauses tothink of why he wants the crown or if hersquodbe any good as king Turns out hersquos not butitrsquos this bizarre obsession with control thatpropels him to kill everyone off thatrsquos in his way Itrsquos also fascinating that the one characterthat is consistently kind to Richard is hisfather York

ldquoI think an argument can be made thatRichard in his warped way is trying to liveup to the image he has of his father Ofcourse York is dead and gone by the timeRichard III begins but you can glean a lotabout Richardrsquos inner workings in the way hespeaks about his father Of course itrsquos foolishto try to answer questions that Shakespearedoesnrsquot and Irsquom not trying to say this solvesa mystery but I think itrsquos interesting Itrsquos only

an element itrsquos not the answerrdquo Richard III is listed as a historical

play in the First Folio but in the

quarto edition it is termed a tragedy

Which category would you put the

play in and why

ldquoI think of the history plays from Richard II to Richard III as one vast play an epic thatencompasses all the categories I think if youlook at Richardrsquos progression through those

plays you see a great mind warped by the War of the Roses and that certainly adds tothe tragic element I think of Richard III asthe final chapter of a great epicrdquo

Aidan OrsquoReilly stars in Marin ShakespeareCompanyrsquos Richard III from 4-27 September

Aidan OrsquoReilly

SHAKESPEARE magazine 37

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Scotland Shakes

SHAKESPEARE magazine 39

Bonnie Prince

Brian Fergusonas Hamlet in theCitizens Theatre

production Photoby Tim Morozzo

Billy William Shakespeare is undoubtedly Englandrsquos

Bard But how is he viewed north of the border

Our Caledonian correspondent surveys the state

of Shakespeare in Scotland and meets esteemed

outdoor theatre company Bard in the Botanics

Words Paul F Cockburn

T owards the end of May thisyear a BBC Scotland afternoon

news bulletin surprisinglyturned its attention to aforthcoming production of

ldquoone of William Shakespearersquos best lovedplaysrdquo ndash A Midsummer Nightrsquos DreamHowever this particular production wasnrsquotconsidered newsworthy because it came froman amateur group based in Dumfries andGalloway Not even that the CrossmichaelDrama Club were one of just seven amateurScottish groups taking part in the Royal

Shakespeare Companyrsquos Open Stages project which aims to help amateur companies

extend their repertoiresNo the lsquohookrsquo was how this newproduction was Shakespeare ldquobut no asyou micht ken itrdquo Because it had beenreimagined in Scots as A MidsimmerNichtrsquos Dreme

As it happens writer John Burns saysthat his principle reason for translating AMidsimmer Nichtrsquos Dreme was simply theintuition that it being in Scots would workto the benefit of the production ldquoItrsquos not

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Scotland Shakes

40 SHAKESPEARE magazine

so much that 16th century English canrsquot docertain things more that using Scots brings itcloser to a Scottish audience and to audiences who might think Shakespeare too fancyrdquo hesays ldquoI feel too that Scots can catch the sheerphysical power of Shakespearersquos language He writes lines you really feel physically when

you say them out loud My intention was touse Scots to produce a text that was actableand which would be accessible and enjoyablefor the audience and the Scots was a majorpart of thatrdquo

Arguably translating Shakespeare intoScots ndash viewed by many as a distinct languagefrom English ndash is just one way of finding thecontinued relevancies of Shakespearersquos writing with the here and now Certainly John Burns was keen to see if Scots ldquocould match the way

Shakespeare switches tonehellip from broad attimes bawdy humour to moments that aremore serious or even sinisterrdquo

Yet there is a wider perspective whether wersquore discussing translation into Scots orsaying Shakespearersquos words with a Scottishaccent Willy Maley and Andrew Murphyin their introduction to Shakespeare andScotland (published by Manchester UniversityPress in 2004) go as far as describing thetranslation of Shakespearersquos Macbeth into

Scots as ldquoa patriotic actrdquo not least becauseof ldquothe political commitment implicit intranslating from English to Scots reversing

the dominant dubbing practice infi

lmsrdquoGlasgow-based novelist and playwright Alan Bissett ndash who actively campaigned fora Yes vote during last yearrsquos IndependenceReferendum ndash has since written about howsince the 1970s Scottish theatre had ldquoadeep engagement with the shifting beastof Scottish politicsrdquo Although Bissett wasfocusing primarily on original works byScottish playwrights and directors itrsquos worthpointing out that Shakespeare ndash despite therebeing absolutely no evidence to prove he evertravelled north of Carlisle ndash has played hisown part in this

As Maley and Murphy point outldquoScotlandhellip never had precisely the samerelationship with the Bard as England hasbut has experienced a fraught process ofappropriation incorporation and resistancerdquoIn part this is because Shakespeare ndash in hislatter career ndash was among the first lsquoBritishrsquo writers Many of his later plays ndash Cymbeline King Lear even Hamlet ndash were produced

A tartan-cladAntipholus andDromio in Bard inthe Botanicsrsquo TheComedy of Errors

Brian FergusonrsquosHamlet CitizensTheatre productionPhoto by TimMorozzo

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under the patronage of Scotlandrsquos King JamesVI (aka James I of England) Each in theirown way can be said to touch on ldquothe matterof Britainrdquo the complex relationship between

the constituent elements of Jamesrsquos newlsquounitedrsquo kingdom which the Stuart monarch was determined to see joined into oneat never quite happened of course

Even after the 1707 Act of UnionScotland retained its own legal educationaland religious systems along with anaccompanying sense of Scottish identity ndash which survived even the height of the Britishempire Yet from the 1970s on there havebeen notable changes in how Shakespeareis treated by Scotlandrsquos producing theatrecompanies Several years ago GlasgowrsquosCitizenseatre delivered a powerful Romeoand Juliet in part because of their decision toset the action in a present-day sectarian Westof Scotland ndash with accents to match

ldquoEnglish-accented Shakespeare carriesa specific resonance in Scotland one thatdirectors usually choose to avoidrdquo pointsout Mark Fisher a freelance journalist criticand author of the forthcoming book How toWrite Abouteatre

ldquoIrsquom not sure exactly when attitudesstarted to change but Irsquod say the argumentin favour of Scottish-accented productionshad been pretty much won by the 1990sBy that time companies such as Raindogand directors such as Hamish Glen hadbeen making a point of casting very Scottishproductions of Shakespearerdquo

One example of how things hadprogressed even by 1992 was the late KennyIrelandrsquos production of A Midsummer

Nightrsquos Dream his first as Artistic Directorat Edinburghrsquos Royal Lyceum ldquoHe castthe mechanicals with Scottish accents andeveryone else with English accentsrdquo MarkFisher explains ldquois I said in my review wasa fundamental error ndash or some such phrasee message it sent out was that people withScottish accents were foolish figures of fun whereas people with English accents wereserious figures of respect

ldquoIreland reacted furiously to my review

and made the case that he had based thecasting of the mechanicals around (the actor) Andy Gray who has a Scottish accent Inother words the meaning I inferred hadnot been deliberate I think itrsquos true to sayhowever that Ireland never cast a Shakespearelike that againrdquo

Gordon Barr is Artistic Director of

Glasgow-based Bard in the BotanicsScotlandrsquos only professional Shakespearecompany (see following pages)

ldquoWersquove never gone out of our way tomake Scottish versions of these texts norhave we gone out of our way to have classicaltraditional voicesrdquo he says ldquoMost of our coreactors have made their careers up here so wethink of them as Scottish actors

ldquoat is important to us to not overlylook outwards for the acting company As

much as possible we work with people who are based in Scotland Wersquore regularlyproducing Shakespeare here and we want tobe a part of the training to ensure that there isa range of strong classical actors hererdquo

Citizens Theatrewwwcitzcouk

Owen Whitehawas the Fool andDavid Hayman asLear in CitizensTheatrersquos King Lear Photo by TimMorozzo

Scotland Shakes

SHAKESPEARE magazine 41

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Bard in theBotanicsrsquo As You Like

It takes Rosalind andOrlando into theopen air

ldquoTouring is something that we have wanted to do foryears but was somethingthat we could not afford

to do without fundingrdquo says Gordon Barr Artistic Director of Scotlandrsquos only professionaloutdoor Shakespeare festival Bard in theBotanics If therersquos any irony attached tothe companyrsquos first major tour of Scotland which took place in early 2015 itrsquos that theperformances of their acclaimed Romeo and Juliet ndash featuring a cast of five ndash were playedexclusively indoors

ldquoNobody is touring classical theatre in

Scotland at the minute so itrsquos importantto usrdquo Barr adds ldquoOur work is so muchabout accessibility One of the joys of beingoutdoors is that people come to see the work who wouldnrsquot buy a ticket for a theatre Ifyou can bring a picnic sit out on the grass while watching the show it feels easier moreaccessible But people canrsquot come from Thursoto Glasgow for a night just to see a productionof Shakespeare They should be able to see itin Thurso So that is kind of where the urge totour came fromrdquo

Bard in the Botanics has presented outdoorShakespeare within the grounds of GlasgowrsquosBotanic Gardens since 2003 This yearrsquoslsquoUnlikely Wondersrsquo season presented newproductions of Loversquos Labourrsquos Lost The Merchant of Venice Richard II and A Midsummer Nightrsquos Dream in lsquoreprsquo between24 June and 1 August

The companyrsquos founder Scott PalmerBarr explains had done a lot of his training atthe Oregon Shakespeare Festival one of the

biggest in North America ldquoWith the kindof drive and enthusiasm that only Americanshave he managed to convince the entire cityof Glasgow that outdoor Shakespeare would work and that the weather wasnrsquot going to be

a problemrdquoTwo years later Palmer moved on and Barr

ndash originally involved as a director ndash succeededhim as Artistic Director ldquoIf anyone then hadsaid that I would end up spending 12 yearsrunning an outdoor Shakespeare festival I wouldnrsquot have believed themrdquo he says in hisoffice hidden behind some of the Botanicsrsquogardening sheds ldquoI very quickly fell in love with it once I started working here Despiteall the trials and tribulations that outdoortheatre in Scotland brings with it therersquos just

something magical and special about it Itrsquos a very close-knit company and thatrsquos sort of keptus all here as long as we have beenrdquo

While the annual summer season ofShakespeare plays in the Botanics will remainat the centre of what the company does ndashldquoOtherwise Bard in the Botanics becomesa rather strange namerdquo ndash Barr is very much

Outof theGarden

This year has seen Glasgowrsquos Bard in the Botanicsdo something completely unexpected They wentout on a tour of ndash whisper it ndash indoor venueshellip

Scotland Shakes

42 SHAKESPEARE magazine

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Scotland Shakes

SHAKESPEARE magazine 43

focused on building on the touring side ldquoBecause it was our first ever tour we

did end up taking Romeo and Juliet to theestablished Scottish touring circuitrdquo he addsldquoIt takes a while to build up relationships with the smaller venues thatrsquos going to bean ongoing process for us Even so we weretaking Romeo and Juliet to places like Mulland Stranraer ndash communities and venues thathavenrsquot had a lot of classical theatre comingthrough themrdquo

The choice of play was deliberate too ldquoIt was a production that was ready to go whichhad received five star reviews and sold out itsextended run in the Botanics in 2012 So weknew that the work was good but therersquos nodoubt that for a first tour we wanted to makeit easier for the venues to sell it Most venuesknow they can find an audience for Romeo and Juliet rdquo

In time he hopes that audiences aroundthe rest of Scotland will come to trust the Bardin the Botanics name sufficiently to take on theless familiar plays

ldquoYou just donrsquot know how quickly acommunity is going to turn out for Henry IV yetrdquo he says ldquoHopefully three or four toursdown the line theyrsquore going to turn out forBard in the Botanics ndash and if it happens to be

Henry IV well thatrsquos greatrdquoGiven their reimagining of A MidsummerNightrsquos Dream as a 1920s burlesque musicalis there a particular Bard in the Botanicsapproach to Shakespeare

ldquoOur kind of unofficial motto is lsquoBe BoldBe Braversquordquo Barr says ldquoIf wersquore continuingto stage these plays around 400 years afterShakespearersquos death I think therersquos an urgencyto ask lsquoWhyrsquo It is important to questionlsquoWhat is the story that we want to tellrsquo I wantto see how these plays intersect with historyand todayrsquos society not to present museumpieces

ldquoItrsquos always with an eye to try to releasesomething thatrsquos within the textrdquo Barrinsists ldquoWersquore not remotely interested ininnovation for innovationrsquos sake The playsare masterpieces thatrsquos essentially why wersquorestill doing them 400 years later But to revealsomething thatrsquos unexpected or new thatrsquosimportant to usrdquo

Bard in the Botanics

wwwbardinthebotanicscouk

Rosalind and Audreyin the forest Bardin the Botanicsrsquo As You Like It

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Shakespeare at the Tobacco Factory stf 2016 Seasonco-production with Tobacco Factory Theatres

HAMLETBy William Shakespeare

Directed by Andrew Hilton

Main run Thu 11 February ndash Sat 26 March 2016

In repertoire with Allrsquos Well That Ends WellMon 25 ndash Wed 27 April Sat 30 April 2016

The most famous play in world drama Hamlet

turns a new face to every decade So many

elements - political madness sex murder ndash all

brought together in a drama that is both a thriller

and the profoundest meditation on our human

condition

ldquoThrilling workrdquo The Guardian on Romeo amp Juliet

ldquoBullseyerdquo WhatsOnStage on Romeo amp Juliet

Shakespeare at the Tobacco Factory Friends Priority Booking opens Wed 23 September 10am

wwwstf-theatreorguk

Tobacco Factory Theatres Members Priority Booking opens Wed 16 September 10am

wwwtobaccofactorytheatrescom

Public Booking opens Wed 30 September 10am

Tobacco Factory Box Office 0117 902 0344

ALLrsquoS WELL THAT ENDS WELLBy William Shakespeare

Directed by Andrew Hilton

Main run Thu 31 March ndash Sat 23 April 2016

In repertoire with Hamlet

Thu 28 ndash Fri 29 April Sat 30 April

A young woman using skills bequeathed herby her father saves the French Kingrsquos life and

is rewarded with the right to choose her own

husband But what if the chosen one wonrsquot play

the game How can she get him into bed How

can she make him love her

ldquo There is something approaching real

magic hererdquo The Arts Desk on The School for Scandal

P h o t o s M

a r k D o u e t

Dorothea MyerBennett in Richard III

Benjamin Whitrowand Julia Hills in The

School For Scandal

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Having conquered

Hollywood and vanquished

the global entertainment

industry video games now

on our culture So where

does the Bard stand in all of

this We sent a Shakespeare

scholar to investigatehellip

Words Andrew Bretz

Shakespeare video games

46 SHAKESPEARE magazine

T eGamersquos A oot Silent Hill is one

big-name gamewhich includesShakespearereferences

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Shakespeare video games

SHAKESPEARE magazine 47

German cardboard Macbeth datingfrom the early1800s

Hamlet reimaginedRyan Northrsquos To Be

Or Not To Be

W

hen you walk intothe wood panelled Victorian Gothicismof the Gail Kern Paster

Reading Room at theFolger Shakespeare Library in WashingtonDC video games are probably the lastthing on your mind Buried deep withinthe archives however are a set of fragilecardboard figures printed in Germany in theearly 1800s representing each of the maincharacters of Macbeth

Nineteenth century German children would play with these figures on smallcardboard stages no bigger than a dollhouseey could replicate the story as it was toldin Shakespeare or use their imagination tochange the ending letting Lady Macbethsurvive and bringing Duncan back from thedead if they so chosee limits of the game were the limits of their imagination

Today the lsquogamificationrsquo of Shakespeareis a big business from Ryan Northrsquos choose-your-own-adventure edition of Hamlet To Be Or Not To Be to IDW Gamesrsquosupcoming Kill Shakespeare board gamebased on the comic of the same name

Gamifying Shakespeare is filtering intoschools libraries and the theatrical worldas well with the University of California atDavis the Stratford Festival in Ontario theGlobeeatre in London and the LondonMetropolitan Archives all experimenting with video game elements in exhibits productionsand research

Why video games In a sense this is thelogical next step in the media development ofShakespeare Hersquos everywhere in other media

books movies merchandise But videogamese answer for that depends on whoyou ask

StorytellingOccasionally individuals or publishinghouses develop video games that try to tellthe story of say Hamlet yet this is relativelyrare One example would be Elsinore a time-looping narrative adventure game set in the world of the play Players play the game as

Ophelia who wakes up knowing that in fourdays the entire court will be dead and shemust do something to stop ite problemis that she is stuck in a time loop reliving thesame four days over and over againat said Shakespearersquos presence in the

video game industry tends to be focused oncitation rather than adaptation of the playsat is video games for Xbox Playstationand other popular gaming systems often

just cite Shakespearersquos plays as a part of acommon cultural heritageese games donrsquotrestage say Hamlet but they quote the playIn these cases Shakespeare is used to establisha point of identification for the audience His writing tells the audience something aboutthe character or the situation

Given that audiences are supposedto be able to identify the quotations asShakespearean it is unsurprising that Hamlet is the most popular text for game designers to

cite Ine Elder Scrolls Online for instancea merchant NPC (non-player character)quotes Polonius when players interact sayingldquoNeither a borrower nor a lender berdquoe words establish the NPCrsquos role as a merchant while fitting the medieval world of thegame In the game LA Noire upon pickingup a fake shrunken head at a crime scene adetective leaps into high melodrama withldquoAlas poor Yorick I knew him Horatiordquoequotation and the clever voice acting establish

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Shakespeare video games

48 SHAKESPEARE magazine

the characterrsquos strait-laced yet macabre senseof humour

Sometimes citing Shakespeare is a partof a critique of a larger theme In the game Mass E ff ect the Elcor are a race of elephantinealiens who preface all statements with adescription of the emotion they are feelingand who speak in a slow monotonous drone As players interact with the expansive worldthey can discover a number of advertisementsfor an all-Elcor Hamlet e idea of theElcor actor ndash the ultimate in a flat woodenperformer ndash having to preface ldquoTo be or not

to berdquo with ldquomorose ruminationrdquo goes beyondthe simple humour of a bad Shakespeareperformance It subtly asks what it is aboutacting (and especially voice acting) that isvaluable

Shakespeare can appear in video gamesnot merely as a marker or contextualisationtool but as a part of a puzzle For example inthe game Silent Hill 3 players must arrange aset of Shakespeare anthologies on a bookshelfin an abandoned shopping mall in order to

proceed in the game At the hardest levelthe puzzle clue takes the form of a poemthat references all the major tragedies Romeoand Juliet King Lear Macbeth Othello andof course Hamlet e bloody nature of thetragedies fits with the bloody nature of theSilent Hill series of games which fall into thesurvival horror genre

Popular video games have also servedas the inspiration for games that engage with Shakespeare in a more direct way For

example Daniel Fischlin at the Universityof Guelph in Ontario Canada led a teamthat created a Flash game called rsquoSpeare Itrsquos

a scrolling arcade-style game suggesting thersquo80s hit Galaga which sees players identifyingand navigating through a series of enemies who turn into words upon being destroyede player progresses through the levelsby collecting the correct words to createShakespearean quotes learning Shakespeareantrivia along the way

ImmersionOne of the most exciting aspects of videogames is the ability to immerse the player inthe world of the game in a way that othermedia simply cannot do Being able to walkaround Prosperorsquos cell Julietrsquos balcony orto stand before the ghost of Hamletrsquos fatheras he cries out ldquoList list O listrdquo ndash theseexperiences are made possible through videogame technology

Students of Scenic Arts at the Universityof Hildesheim in Germany created Projekt ARIEL or SturmMOD in 2008 using a lsquomodrsquo(or modification) to the engine that runs

the game Far Cry 1 e performance artproject allowed users to experience Prosperorsquosisland interacting with certain parts andexploring others Players could walk aroundan imaginative rendition of Prosperorsquos cell and witness or interact with elements of the playincluding diff erent characters like CalibanProspero and Miranda

Four days to savethe Danish court

Elsinore

Another Hamlet reference this timein LA Noire

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Shakespeare video games

SHAKESPEARE magazine 49

Gina Bloom at the University of Californiaat Davis is presently spearheading a projectthat will be demonstrated in the lobby of theStratford Festival theatre in Ontario Canadathis summere project Play the Knave AShakespeare Performance Videogame lets usersdesign a virtual performance space and thenperform a scene from a Shakespeare playinhabiting this constructed space with anavatar As a Davis insider explains ldquoWe use akinect motion capture camera to capture theuserrsquos skeletal data so that players use theirentire bodies to control their avatarrsquos gesturesonscreen all the while reciting the lines from

Shakespearersquos scenerdquo is literally immersesthe players in the scene

Shakespearersquos Globe eatre in Londontook another tactic regarding immersionin the production of the game HemmingsrsquoPlay Company Hosted on the Playgroundportion of the Globersquos website and thusaimed at an audience of children the gamehas players taking on the role of Hemmingsan Elizabethan bear who leads a troupe oftheatrical animals such as Kit the Cat Dekker

the Dog and Slye the Foxe turn-based game leads players through

the vagaries of Elizabethan theatre practicefrom patronage to lost props and the plagueBy the end of the game players must earnenough money to rebuild the Globe after itburns down during a performance of HenryVIII

Also from Shakespearersquos Globe are twoinnovative video experiences created forchildren aged five to 11 e first Exploring

Shakespeare features two boys on a tour ofthe Globe theatre who sneak off to explorebackstage e video illustrates four plays

using short animations that are keyedto things the boys find backstage etechnology combines live action film andanimation to create an interactive touchablegame Filled with mini-games quizzes andinteresting facts about Shakespeare the gameallows players to click through the narrativeor to stop and learn more as they go along

e second video called Staging It usesthe same technology as the first film but thistime is for the 11-16 age group In this gamee Globe has filmed two actors performingfamous duologues from A MidsummerNightrsquos Dream and Macbeth on the Globestage Rather than shoot it once the actorshave performed their lines in diff erent ways(happy flirtatious defensive and so on)creating several diff erent clips per linePlayers can watch each of the clips and addtheir choice to a dynamic storyboard tobuild up their final scene Impressively theplatform allows for up to 1000000 diff erentcombinations of clips

Apps and Mini-GamesItrsquos when you start to look outside of therealm of popular video game platformslike Xbox or Playstation that Shakespeare

Silent Hill 3 Brush upyour Shakespeare ifyou want to survive

Hemmingsrsquo PlayCompany fromShakespearersquosGlobe

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Shakespeare video games

50 SHAKESPEARE magazine

really starts to pop up wherever you looke ubiquity of Shakespeare is especiallynoticeable when you start to look at apps andmini-games designed for phones and tablets

In 2012 Big Fish Games released aniPhone and iPad game called Hamlet that featured all the main characters ofShakespearersquos play but transposed them intoa save-the-princess narrative puzzle game A time traveller lands in Denmark andaccidentally kills Hamlet and so players mustcomplete his journey for him saving Opheliaand killing Claudiuse Shakespeareancontent is minimal and heavily adapted andyet it fits with the puzzle format in whichShakespeare tends to be found in videogamese Chronicles of Shakespeare Romeo amp

Juliet ande Chronicles of Shakespeare A Midsummer Nightrsquos Dream are lusciously-illustrated puzzle games for the PC In themplayers act as one of the characters from theplays gathering items and clues through aShakespearean environment

Among the literally thousands of appsrelated to Shakespeare that can be found forthe iPad or Android tablet are

e Shakespearean Insult Creator which generates invectives drawn from a wholly Shakespearean vocabulary So nexttime you want to call someone a jerk trysomething more like ldquoou fusty follyfallenfustilarianrdquo

e Shakespeare Translator whichtranslates ldquonormal English words and phrasesinto the words of Shakespeare himselfrdquo

e Shakespeare Fortune Cookie which provides short quotes from the plays

and a small trivia game Shakespeare or Die a game that

scrambles the words of famous quotationsfrom the plays and asks you to identify theplay and character who spoke the line If youmake a mistake however beware the witchesese apps are either explicitly games or

they are coming out of a game-like impulse tomake Shakespeare more accessible to everyone with an internet connection

Brave New WorldsIn a world where Shakespeare is an industrycounted in the millions of dollars per yearit is so easy to forget that Shakespearersquos playsare just that ndash playsere is a sense of joyand fun and happiness embedded in theexperience of watching them Games are oneof the ways that people over the centuries

have tried to recapture that elusive sense ofplayfulness within Shakespeare So it makesperfect sense that now with the advent ofdigital technologies Shakespeare is movinginto the digital world with a vengeance

From big studio games likee ElderScrolls to small apps that can be downloadedfor free from talking bears to immersiveperformance experiences Shakespeare iseverywhere in video games Rather than beingan undiscovered country into which the Bard

is only just beginning to emerge games havein fact engaged with Shakespeare and his works for hundreds of years And they willprobably continue to do so for hundreds ofyears to come

rsquoSpeare is a scrollingarcade-stylegame with addedShakespeare trivia

Hamlet is aShakespeare-themed puzzle fromBig Fish Games

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Meet thy makers

Helen Mears fell into bardolatryduring her teenage years and has

never recovered She is a volunteersteward at Shakespearersquos Globe

which ensures a regular diet of theBard She teaches English Film andMedia at Suffolk New College and isa specialist in teaching Shakespeareusing active methods Her favouriteShakespearean actor is Jamie Parker

and her favourite plays are the SecondHistory Tetralogy She hopes to

finish her Masters in the AdvancedTeaching of Shakespeare very soonFind her on Twitter hipster_hels

Paul F Cockburn is an Edinburgh-based freelance magazine journalist who specialises in writing about

arts and culture equality issues andpopular science Hersquos sufficiently

grey-haired for his English Literaturetraining to have sort of overlapped

with The BBC Television Shakespeareproject saving at least some of the

plays from death by academiaFind him on Twitter paulfcockburn

Jen Richardson first fell in love withShakespeare as a 15-year-old schoolgirl

ldquoHe got under my skin and hersquos still theretodayrdquo After training with a Manchester-based drama tutor she went on to pursuean acting career Drama remains a greatinterest but her focus is now on sharing

her passion for Shakespeare throughher writing In her spare time Jen is

generally down in Stratford-upon-Avonsitting on her favourite bench behind

Holy Trinity ChurchFind her on Twitter The_JenJen

Andrew Bretz is a sessional instructorof English Literature and Drama

specialising in early modern dramaHe has taught at Wilfrid LaurierUniversity the University of Guelph

Brock University and McMasterUniversity For the past two years he

has taught a special summer intensiveat Ontariorsquos Stratford Festival His PhDdissertation was on the representationof sexual violence on the early modern

stage Find him on TwitterAndrewBretz001

Just some of the contributors to this issue of Shakespeare Magazine

Rosalind Lyons is a painter whohas exhibited widely in both mixedand solo shows with work in UK

and international private collections A life-long love of Shakespeare isreflected in many of her paintings

and a particular recent focus isShakespearersquos Globe theatre where shespent a period as artist-in-residenceShe is currently studying for a PhD

in Painting and ShakespeareanTheatre at Anglia Ruskin University

in CambridgeFind her on Twitter roslyons

52 SHAKESPEARE magazine

Contributors

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Page 3: Shakespeare Magazine 08

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Welcome to Issue 8 of Shakespeare Magazine

Welcome

SHAKESPEARE magazine 3

P h o t o D a v i d H a m m o n d s

Shakespeare is our greatest most discussed most studied mostwritten-about author And yet we Shakespeare fans are oftenmade to feel that the Bard is some minor niche obsession thatcuts us o ff from what everyone else is getting excited about

So itrsquos great for us when Shakespeare becomes headline news ndashand I mean real news as opposed to the mediarsquos endlessly recycledShakespeare non-stories

Which brings me to Benedict Cumberbatchrsquos Hamlet Undoubtedlya real news story and a real Shakespeare story right now it feels likethe biggest thing to hit London since Henry VIIIrsquos fourth stag partye papers have been having a field day reporting on every aspect of

Benrsquos Barbican performances Some of it has been trivial sure But itrsquosalso touched on interesting subjects What is accepted theatre etiquettendash for journalists as well as fans Why is Hamlet such a pinnacle foractors And what happens if you move its most famous speech to thestart of the play

So this issue wersquore unashamedly celebrating Benedict Cumberbatchrsquos

Hamlet If yoursquore new to Shakespeare you probably donrsquot know thathe wasnrsquot actually the most popular and successful playwright of hisday But 400 years later hersquos the undisputed number one And thatrsquosdefinitely something to shout about

Enjoy your magazine

Pat Reid Founder amp Editor

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Contents

Shakespeare MagazineIssue Eight

August 2015

Founder amp EditorPat Reid

Art EditorPaul McIntyre

Staff WritersBrookeomas (UK)

Mary Finch (US)

WritersLiz Barrett

Andrew BretzPaul F CockburnRosalind LyonsHelen Mears

Jen Richardson

Chief Photographer Piper Williams

Thank YouMrs Mary Reid

Mr Peter RobinsonMerchant Taylorsrsquo School Crosby

Web designDavid Hammonds

Contact Usshakespearemagoutlookcom

FacebookfacebookcomShakespeareMagazine

Twitter UKShakespeare

Website wwwshakespearemagazinecom

4 SHAKESPEARE magazine

At last A magazine with all the Will in the world

Issue 8FREE

Hamlet

SweetHomeShakespearersquosStratford-upon-Avon itrsquos our

essential guide

ScreenSavers

Video GamesThe future of

Shakespeare

NativeTongues

The sound ofShakespeare

in Scotland

Paintingthe BardThe haunting

Shakespeare artof Rosalind Lyons

Shakespearersquos hottest ticketBENEDICT CUMBERBATCH

is Burning at the Barbican

6 BigBen

Itrsquos the Shakespeare event

of the Year BenedictCumberbatch is Hamlet

18 No PlaceLike Home

Back to where it all began

exploring Shakespearersquos hometown Stratford-upon-Avon

28 PaintingShakespeare

Magical haunting and dream-like the Shakespeare art ofRosalind Lyons

34 Killingthe King

Actor Aidan OrsquoReilly tells ushow hersquos preparing to playShakespearersquos Richard III

39 BonniePrince Billy

You havenrsquot heard Shakespeareuntil yoursquove heard it in theoriginal Scottishhellip

44 e Gamersquos

AfootCould the dizzying digitalworld of video games be

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Benedict Cumberbatch

6 SHAKESPEARE magazine

BigBen

ldquoHow weary stale fl at and unpro fi table

Seem to me all theuses of this worldrdquo [I 2]

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Perhaps the quintessentially English actor

Benedict Cumberbatch is taking on the

quintessentially English poet and playwright

William Shakespeare His new Hamlet

is the fastest-selling production in London

history but which other Shakespeare roles

has Benedict played And how does he feel

about tackling The Big One

Words Helen Mears Photos Johan Persson

Benedict Cumberbatch

SHAKESPEARE magazine 7

Lyndsey Turnerrsquos 2015production of Hamlet

features striking setdesigns by Es Devlin

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Benedict Cumberbatch

8 SHAKESPEARE magazine

and Romeo and Juliet playing Orlando andBenvolio respectively

Shakespeare does not feature again inCumberbatchrsquos CV Instead he worked his way through acclaimed TV work such as hisportrayal of Steven Hawking in 2004 bio-drama Hawking and his role as the troubledartist Vincent Van Gogh in 2010rsquos VanGogh Painted with Words and film roles in Atonement (2007) and The Other Boleyn Girl (2008) before breaking big in 2010 with theBBCrsquos Sherlock The programme was a world- wide success and propelled Cumberbatchonto the acting A-list Since then he hasfeatured in Star Trek Into Darkness (2013) 12Years a Slave (2014) and two of the Hobbit films (2013-14) in which he voiced thedragon Smaug He also made a huge successof The Imitation Game (2014) in which heplayed codebreaker Alan Turing

Now Benedict is returning to Shakespeare with vengeance with two major roles on

stage as tragic hero Hamlet and on BBCTV as arch-villain Richard III in The HollowCrown The Wars of the Roses A taster came inthe BBCrsquos Lifetime of British Drama promo where he beautifully recites the Seven Agesof Man speech from As You Like It over clipsfrom classic BBC dramas past and present

Incredibly Cumberbatch is himself adistant descendant of Richard III The actorread Carol Ann Duffyrsquos specially-composedpoem lsquoRichardrsquo at his ancestorrsquos re-interment

at Leicester Cathedral in March 2015 Hefelt honoured to have been involved and itseemed particularly apt that he was filmingthe role of Richard at the time of thishistoric event ldquoHaving just played his verydifferent Shakespearean characterisationrdquo

Benedict will beseen as Richard IIIin the second cycleof the BBCrsquos The

Hollow Crown

B enedict Cumberbatchrsquos professionalrelationship with Shakespeare began early inhis career back in 2001 He appeared in theNew Shakespeare Companyrsquos productions inRegentrsquos Park playing the King of Navarrein Loversquos Labourrsquos Lost and Demetrius in A Midsummer Nightrsquos Dream As he told Whatrsquos

On Stage in 2005 ldquoThey were my first twoprofessional roles in the theatrerdquo In theinterview he also stated that Shakespeare was his favourite all-time playwright Thispresumably influenced his decision to returnto Regentrsquos Park in 2002 for As You Like It

ldquoYou wouldnrsquot look twice at Richard Hersquos avery dangerous charming powerful manrdquo

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Benedict with MartinFreeman (left) in theBBCrsquos Sherlock

Rehearsals forHamlet July 2015

Benedict Cumberbatch

SHAKESPEARE magazine 9

he commented ldquoI was intrigued to see whatthe real historical event would be like andto be a part of this extraordinary moment ofremembrance Then what really sealed thedeal was this beautiful poemrdquo

Benedict feels that the discovery ofRichardrsquos remains has changed peoplersquosperceptions ldquoI think the debate in historicaland archaeological terms about the reality ofhim and his kingship is whatrsquos extraordinaryto witness nowrdquo

He also recognises the perilous appealof Shakespearersquos Richard ldquoYou wouldnrsquotlook twice at him necessarilyrdquo he said ldquobutonce he had you in his beamhellip Hersquos a verydangerous charming powerful manrdquo

Cumberbatch was boldly instrumentalin Dame Judi Denchrsquos appearance in TheHollow Crown The Wars of the Roses Heattended a Shakespearean workshop eventat which the veteran actress was appearing When the audience were asked if they hadany questions he leapt into action askingldquoWould you like to be in Richard III withmerdquo Dame Judi naturally accepted

And fans of Sherlock will already knowthat Andrew Scott who played criminalmastermind Moriarty will also be appearing

in The Wars of the Roses as the French KingLouis

But itrsquos Cumberbatchrsquos run as Hamlet

at Londonrsquos Barbican that is arguably the Shakespeare event of 2015 It sold out inrecord time (although the venue promisethat day tickets will be available for eachperformance) as fans worldwide foughtfor their chance to see Benedict play theDane It is clearly the fruition of a dream forCumberbatch Indeed when asked at 2012rsquos

Cheltenham Literary Festival which play he would choose if he could only perform onemore stage role he opted for Hamlet ldquoEveryactor wants to have a go at itrdquo he said ldquoand I want to have my go at it and I will But wersquore working out when and howrdquo

Well the ldquowhen and howrdquo is right nowBenedict Cumberbatchrsquos career has come fullcircle from his first professional performanceof Shakespeare to playing his dream role Ifyoursquore lucky enough to have a ticket yoursquoll

be witnessing the most talked-about andfeverishly-anticipated theatrical event in yearsIf not therersquos always those queues for daytickets Wersquoll see you there

Hamlet runs at the Barbican Theatre

London until 31 October

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Shakespeare On Sale

SAVE 25 Since 1941 Dover Publications has built its reputation by offering remarkable books at

amazing prices Discover our fine catalog of the works of William Shakespeare

The complete collection of comedies historiesand tragedies all in compact 5rdquo x 8rdquo unabridgedpaperback editions The lowest-priced editionsavailable for todayrsquos educators students actorsand Shakespeare lovers of every kind

Complete and unabridged text of a play plus acomprehensive study guide with scene-by-scenesummaries explanations and discussions of the plota question-and-answer section and more

Calla Editions reg Books of Distinction for the Contemporary Bibliophile

Our premium imprint features impeccable hardcover reproductionsof some of the most beautiful books ever published Filled with

breathtaking artwork and other deluxe features each Calla Editionrecalls a time when bookmaking was considered an artform

wwwdoverpublicationscomwilliam-shakespeare

To SAVE 25 Click Here

NO minimum order required bull Use CodeWLA2 at checkout bull Expires 123115

P l u s M or ehellip

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httpslidepdfcomreaderfullshakespeare-magazine-08 1156

G A L L E R Yamp R E V I E WFor a generation of Cumberbatch fans lsquoBenedict at the Barbicanrsquo is the

most sensational and controversial Shakespeare production of a lifetime

Images Johan Persson Words Liz Barrett

Hamlet

ldquoTo be or not to be ndashthat is the questionrdquo[III 1] Controversially the playrsquos most iconicspeech was moved to the beginningAs we went to press however thisdecision had apparently been reversed

Benedict Cumberbatch

SHAKESPEARE magazine 11

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Benedict Cumberbatch

12 SHAKESPEARE magazine

ldquoA villain kills my father and for thatI his sole son do thissame villain sendTo heavenrdquo [III 3]

ldquorsquoTis in mymemory lockrsquod And you yourself

shall keep the key of itrdquo[I 3] Ophelia (Siacircn Brooke)

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Benedict Cumberbatch

SHAKESPEARE magazine 13

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Benedict Cumberbatch

16 SHAKESPEARE magazine

ldquoAnd yet to me whatis this quintessence

of dustrdquo [II 2]

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Even more than London there

is one place above all that is

green and pleasant landhellip

Words Helen Mears

Pictures Helen Mears and Susan Braund

Stratford-upon-Avon

SHAKESPEARE magazine 19

W e could be in any smallpicturesque Englishtown with its medievalchurch half-timberedTudor buildings shops

restaurants and delightful riverside walksBut Stratford-upon-Avon is not just any

town Itrsquos one of the best-known most- visited and probably most-loved locations inEngland Thatrsquos because itrsquos the birthplace of William Shakespeare Itrsquos also the place heseems to have considered his home After allShakespeare grew up there went to schoolthere and spent his final days there

So here is Shakespeare Magazinersquos on-the-ground guide to Stratford-upon-Avon Hereyoursquoll find hints and tips for first-time visitorsand returning aficionados alike What to see

the best ways to see it where to stay where toeat and how to get around while yoursquore there Are you ready Then letrsquos start our tourhellip

The BirthplaceSurely the must-visit spot for any self-respecting Bardolator this is where it all beganndash the six-roomed Merchantrsquos House on HenleyStreet where in April 1564 Mary Shakespeare wife of glover John gave birth to their famousson Williame house is approached

HOME

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20 SHAKESPEARE magazine

through the Shakespeare Centre on the left-hand side of the Birthplace A short exhibitionshows you items such as a prized First Folioand the foot of Stratfordrsquos Old Market Cross

from where glover John Shakespeare wouldhave sold his wares A walk through the gardens leads to

the house itself You enter through theself-contained annexe where William and Anne Shakespeare spent the first years oftheir married life and where their childrenSusannah Judith and Hamnet were born eannexe was later occupied by Williamrsquos sister Joan You can walk through the parlour andthe dining room to Johnrsquos workshop where heproduced gloves and other leather goods

A staircase leads to two bedrooms onefor the girls one for the boys and a loft spaceis visible where the apprentices would haveslept Finally you reach the birth room themain bedroom in which William and his sevensiblings were born

Guides are on-hand in all rooms to tell youtheir history and other gems of informationComplete your visit by watching classicShakespearean speeches performed in thegarden by resident acting troupe Shakespeare

Aloud and then picking up some souvenirs inthe gift shop and excellent bookshop

e five house ticket is the best value givingyou entry to all of the properties (HarvardHouse is a current alternative to New Place)and allowing you to view Shakespearersquos Gravein Holy Trinity Church

The Avon and Boat trips A walk along the Avon is a must in any seasone gentle stroll from the RSC to Holy Trinity

Church will take you past drooping willowssmoothly sailing swans and green parklandFor a diff erent perspective on the town you cantake a boat trip along the river itself Startingfrom near the RSCeatre you cruise gentlydown to the church where Shakespeare wasbaptised and buried before turning back andheading past the theatre and under CloptonBridge Itrsquos a bridge that William himself would have known built as it was around1480 e Avon is very pretty everywhere

you look are the incredible tame (and alwayshungry) swans and picturesque houseboatse banks are lined with weeping willows that just might have been the inspiration for poorOpheliarsquos watery end in Hamlet If you wouldrather take a slower self-driven trip there arerowing boats canoes and small speedboatsfor hire Beware though these are not aseasy to control as they look and you may wellspend a good proportion of your allottedtime relearning how to row and avoiding

Stratford-upon-Avon

The birth roomat ShakespearersquosBirthplace

Molly fromShakespeare Aloudin the Birthplacegarden

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SHAKESPEARE magazine 21

other hapless river tra ffic Boat trips typicallylast for around 40 minutes and are especiallypleasant in the late afternoon when the sun setsslowly behind the church steeple For addedluxury you can take a restaurant cruise where

afternoon tea or an evening meal are served onboard or as a quicker cheaper alternative youcould take the chain ferry across the Avoneferry dates from 1937 and is the last of its kindin the UK

Nash House and New Place

As well as the Henley Street property theShakespeare Birthplace Trust care for fourother locations in and around Stratford allassociated with Williamrsquos family Nash House

and New Place were adjoining propertieseformer was the home of Judith Shakespeareand her husband while the latter was thefamily home that William purchased in 1597at the time the second most expensive housein the town Sadly it was demolished by asubsequent owner but the Trust are currentlyundertaking a massive renovation of the siteis means that the properties will not be opento the public until 2016 to coincide with the400th anniversary of Shakespearersquos death

Hallrsquos Croft

A brief walk from New Place will take youto Hallrsquos Croft the home of SusannahShakespeare and her husband the physician John Hallis is an interesting property in its

own right and is partly set up to show how apractising physician would have worked at thetime A special mention too must goe Arterthe award winning independent craft shopadjoining the building and to the beautifulgarden in which open air performances ofShakespearersquos plays are sometimes performed

Stratford-upon-Avon

Holy TrinityChurch viewedfrom the Avon

Nash House andNew Place

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22 SHAKESPEARE magazine

Anne Hathawayrsquos Cottage A short distance from Stratford is Shottery where you can find the beautiful cottage

which was the home of the Hathaway familySet in yet another lovely garden this is thehouse in which Anne Hathaway grew upand was courted by the young William JohnShakespeare served with Anne Hathawayrsquosfather on the town council so their childrenprobably knew each other from a young agee family remained associated with thecottage for several centuries and have spunmany a yarn about the young lovers theveracity of which are highly questionable

However the stone floor of the kitchen isoriginal and we know that William must have walked those stones many many times

Mary Ardenrsquos Farme last of the Shakespeare properties is Mary Ardenrsquos Farm Shakespearersquos mother lived hereand itrsquos where she probably took the infant William when plague broke out in Stratfordshortly after his birth Open from March toNovember only the farm is run as a working

Tudor farm with costumed guides caring forthe buildings and the animals Itrsquos a great placefor a family day out with plenty to see and doand numerous activities runningere are

daily falconry shows archery animals to feedand games to play You can even treat yourselfto a genuine Tudor meal in the cafe ndash pottageand home-baked breads are a speciality

What if you donrsquot have a care town itself is fairly small and all themain attractions are within walking distanceHowever the easiest way to get around and toenable a visit to Anne Hathawayrsquos Cottage andMary Ardenrsquos farm is to the Hop On-Hop Off City Sightseeing busis will take you to allthe main town locations and also to Shotteryand Wilmcote A day ticket will give youunlimited access to the buses and allow you tovisit all of the Shakespeare properties e buscan be picked up by the statue of Touchstonethe jester at the top end of Henley Street

Walking Tours Another excellent way to see the main sites ofStratford and to learn some of the historicaltales of the town is to take a walking tour

Stratford-upon-Avon

Anne HathawayrsquosCottage

Mary Ardenrsquos Farm

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ere are several options depending on thetype of tour yoursquod likee town guides runhistorical tours of the town every day (yesevery day) of the year For those who like to be

a bit more daring there are evening ghost walksled by costumed guides who will tell you someof the spooky tales of Stratford Both of thesetours start from the Swan Water Fountain onthe riverside

Or if you like the idea of being guidedby Shakespeare himself on a Saturday (andMonday to Saturday through the summerholidays) there are town walks led by the manhimself (or someone who looks an awful lotlike him)ese run from Tudor World onSheep Street an interesting museum in thehouse that belonged to the man who wasallegedly the model for Sir John Falsta ff

Holy Trinity Church Another must-see is the townrsquos 13th centurychurch with its distinctive spire that dominatesthe view from the river Remember that if youhave a ticket to the Birthplace properties yourvisit to the grave is free e church is famousfor being where William Shakespeare wasbaptised on 26 April 1564 e old font that

was used for the baptism is displayed in thechancel along with copies of both the registerof baptism for April 1564 and the register ofburials for April 1616 where Shakespearersquosname can be clearly seen Also in the chancelin front of the altar are the Shakespeare familygraves Williamrsquos bears its infamous curse

ldquoGOOD FRIEND FOR JESUSSAKE FOREBEAR

TO DIGG THE DVST

ENCLOSED HEREBLESTE BE YE MAN YT SPARESTHESE STONES

AND CURSED BE HE YT MOVESMY BONESrdquo

On the wall above the grave is the effigy of

Shakespeare Itrsquos one of the few images which was produced within the lifetime of AnneShakespeare and probably one of the mostauthentic likenesses of her husband

The Guildhall and King EdwardrsquosSchoolDirectly opposite the site of New Place standthe Guildhall and the townrsquos old grammarschool Both of these places have links to theShakespeare family King Edwardrsquos Schoolis where the young William is believed tohave studied and itrsquos probably where hefirst encountered the classical texts which soinspired him As the son of a town councillorhe would have been entitled to a placee

old school is sometimes open to visitors at weekends or during the holidays but theschool has just won a lottery grant whichshould enable them to open it as a permanentattraction e Guildhall was sometimes hostto groups of travelling players and so it couldbe the site where young William first sawtheatrical performances It is widely believedthat John Shakespeare owing to his role astown bailiff was responsible for supervising the whitewashing of the medieval Doom Painting

Stratford-upon-Avon

SHAKESPEARE magazine 23

The GuildhallDoom Painting

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24 SHAKESPEARE magazine

Stratford-upon-Avon

is has been recovered and is now once againvisible above the chancel arch

The Royal Shakespeare CompanyTheatre and the riversidee riverside park is home to several interestingsights It is from here that you can get a view ofthe Clopton Bridge pick up a river cruise feedthe swans and admire the Gower Memoriale memorial was presented to the town in1888 and features a statue of Shakespeareseated upon a plinth overlooking statues offour of his best known charactersese areHamlet Prince Hal Sir John Falsta ff and Lady

Macbeth who represent Comedy HistoryPhilosophy and Tragedy Closer to the theatreis the beautiful Swan Water Fountain unveiledin 1996 If you see the water frothing fear notit seems to be a sport amongst local youngstersto fill the fountain with washing up liquid on aregular basis

e Royal Shakespeare Companyeatre was built in 1932 but has recently undergonea complete refurbishment in both the mainand the Swan theatres e building reopened

in 2010 with both theatres having beenconverted to boast thrust stages and curvedgalleries similar in shape to the originalElizabethan playhousese world renowned

Royal Shakespeare Company performshere throughout the year staging plays byShakespeare and his contemporaries as well asby newer authors ey also run an educationprogramme exhibitions family activitiesduring the school holidays and theatre toursTo see Stratford from an entirely diff erentangle take the lift up the 36 metre high towerfor spectacular views across the town

Where to eat and drinkStratford has an excellent range of eateriesto suit all tastes and budgets ere is pubgrub afternoon teas world cuisine finedining pizza pasta and fish and chips Manyrestaurants off er pre-theatre menus and ifyoursquove been on a town walk you may find thatyou can get discount vouchers for your foodere are many pubs in Stratford including theGarrick Inn the oldest pub in the town whereyou can taste the Shakesbeer specially brewedto celebrate Shakespearersquos 450th Birthday in2014 If you want to spot RSC cast members

relaxing after their showse Dirty Duck on Waterside is the place to drink

Where to stay Again Stratford-upon-Avon has a good varietyof hotels bed and breakfasts and holidayhomes All the main chains have hotels inthe town from budget brands to the luxurynamesere is an excellent choice of bedand breakfast establishments in and aroundthe town again these will suit all tastes and

budgets Airbnb also has an interesting rangeof rooms flats and houses to rent in StratfordHowever be sure to book early especially forthe prime summer months

The Shakespeare Birthplace Trustwwwshakespeareorguk

The GowerMemorial Will andPrince Hal

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M

any places around the worldhave been named afterStratford-upon-Avon thebirthplace and home of William

Shakespeare And many of those Stratfordsare home to theatre festivals of varying sizesStratford in the state of Victoria in Australiahas an annual Shakespeare festival still goingevery year while Stratford in Connecticut inthe USA had a major theatre from the mid1950s to the mid 1980s Stratford Ontarioin Canada however stands out among thesetowns and festivals not merely in scope but ininternational reputation and prestige

In 1950 Canada had no home-growntradition of classical theatre Certainly

Shakespeare was performed but there hadbeen a strong anti-theatrical movement inCanada throughout the 19th century whoseeffects still lingered throughout the first half ofthe 20th As a cultural icon Shakespeare wasedifying to be sure but certainly not to beperformed The Stratford Festival changed allof that for Canada

In the late 1940s the local newspapers andgovernment of the town conceived of the ideaof revitalising Stratfordrsquos sagging economy by

capitalising on the name of the town and its

long association with the Bard They bandedtogether and under the leadership of TomPatterson they brought over Tyrone Guthrieand Alec Guinness for the first season in1953 Guthrie had famously directed Gielgud

inHamlet

at Elsinore Castle in Denmarkand had been the manager of the Old Vic inLondon He wanted to create an acting spacethat echoed the original Globe theatre whereactors were surrounded by the audience incontrast to the proscenium arch theatres thatdominated the London and New York scenes

From the first performance which tookplace inside a giant circus-style tent on thebanks of the Avon River the festival workedto create a new aesthetic of Shakespeareanperformance The thrust stage of the FestivalTheatre designed by Tanya Moiseiwitschhas been recognised as one of the greatinnovations in stage design of the 20th centuryGenerations of actors have had to learn howto address an audience on three sides of themsometimes only an armrsquos length away

The festival has been central to the careersof Canadian actors such as ChristopherPlummer Martha Henry and even WilliamShatner Actors from the US and UK havesought to play the festival as well including

Peter Ustinov Christopher Walken and JessicaTandy Indeed these international stars notonly lend credibility but have indelibly markedthe festival For instance Maggie Smithrsquosperformance as Rosalind in As You Like It inthe 1977 and 1978 seasons is legendary in thecompany and the town

Today the festival has expanded to includemultiple performance spaces a theatre schooluniversity accredited courses and the largesttheatrical costume shop in North America

It has started countless careers inspiredcompanies such as Torontorsquos SoulpepperTheatre and helped shape the Canadiantheatre landscape for over 50 years

Stratford Festival ndash Ontario Canada

wwwstratfordfestivalca

MEANWHILE

IN CANADATherersquos more than just one Stratford you knowAnd the one in Ontario Canada has a world-renownedShakespeare Festival gives us a tour

Stratford Ontario

SHAKESPEARE magazine 25

ldquoFrom the fi rst performancethe Festival worked tocreate a new aesthetic ofShakespearean performancerdquo

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Planning to performa short selection

from Shakespeare

The 30-Minute Shakespeare

Anthology contains 18 abridged

scenes including monologues from

18 of Shakespearersquos best-known plays

Every scene features interpretive stage

directions and detailed performance

and monologue notes all ldquoroad testedrdquo

at the Folger Shakespeare Libraryrsquos

annual Student Shakespeare Festival

THE 30-MINUTE SHAKESPEARE is an acclaimed series of abridgments that tell the story of each play while keeping the beauty ofShakespearersquos language intacte scenes and monologues in this anthology have been selected with both teachers and students inmind providing a complete toolkit for an unforgettable performance audition or competition

NICK NEWLIN has performed a comedy and variety act for international audiences for more than 30 years Since 1996 he hasconducted an annual teaching artist residency with the Folger Shakespeare Library in Washington DC

The 30-Minute Shakespeare series is available in print and ebook format at retailersand as downloadable PDFs from 30MinuteShakespearecom

The 30-Minute Shakespeare Anthology

includes one scene with monologue

from each of these plays

ldquoLays the groundwork for a truly fun and sometimes magical

experience guided by a sagacious knowledgeable and intuitive

educator Newlin is a staunch advocate for students learning

Shakespeare through performancerdquo mdashLibrary Journal

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Roaslind Lyons

28 SHAKESPEARE magazine

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For UK artist Rosalind Lyons the Bard is a

constant presence in her creative life She tells

us how Shakespeare inspired the haunting and

dreamlike works that adorn these pages

Words and paintings by Rosalind Lyons

Rosalind Lyons

SHAKESPEARE magazine 29

Left TheRoaring Boys

PAINTINGSHAKESPEARE

S hakespeare has long been at the heart ofmy work sometimes directly and obviouslyin the subjects and often in the titlesBut always Shakespearersquos words charactersand stories are there in my head when Iam painting ndash a perpetual conscious andunconscious presence

My style echoes that of the Renaissancepainters and Elizabethan portraits andthese influences combined with a life-long love of Shakespeare made my firstvisit to Shakespearersquos Globe pivotal Iexperienced a powerful sense of connectionand recognition Here suddenly ideasand themes with which I had been so longpreoccupied were brought to life

I subsequently gained access to theGlobe to draw and later spent some time

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as Artist in Residence thereat experienceprompted more in-depth exploration notonly of Shakespeare and painting but of therelationship between painting and theatreere are of course the strong visualconnections ndash both are spaces for spectacleand illusion But also compelling ideas oftransformation imagination storytelling andidentity And overall the theme of ambiguitye blurring of boundaries between realityand fiction male and female light andshadow past and present I am fascinated byhow we respond to history how we re-presentand re-imagine the past And the figures inmy paintings are imagined as belonging toboth now and then ndash flitting back and forthacross the threshold between past and presentbetween Shakespearersquos time and our own

modern worldI have painted some specific characters

from Shakespeare but many subjects ofmy paintings are anonymouse figuresare unknown their place purpose role is amysteryis anonymity is unsettlingereare clues in the setting in the costumes ndash orperhaps I should just say in the clothes theyare wearing ndash but the context is not obviousI am fascinated by the dramatic convention ofcross-dressing ndash and particularly the inherent

confusion as with Rosalind ( As You Like It )and Viola (Twelfth Night ) in the idea of aboy playing a girl playing a boy Many of thecharacters I invent are androgynous theirgender and age uncertainis ambiguityof identity interests me in the context ofvisual illusion and theatrical transformationthe idea of inbetween-ness and somethingunresolved

Like theatre my paintings are concerned with inventing characters and the creation

Right No MoreYielding But A

Dream

Roaslind Lyons

30 SHAKESPEARE magazine

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of an imaginary world and I am particularlyattracted to the fools fairies and witchesIn A Midsummer Nightrsquos Dream the fairiesrsquoactions may seem malevolent or benign or just mischievous but there is definitely a dark

side an underlying sense of threate Fool too is intriguing Shakespearersquosfools frequently describe themselvesor are referred to as a nobody but areunquestionably much moree fool is anoutsider concerned with but at the same timeseparate from the story He ndash or sometimesshe ndash doesnrsquot quite belong anywhere butseems to exist on the boundary between thefamiliar and the uncanny

I am attracted to the strange to mysteryand shadows and try to express through myimages a strong feeling that it could be thator maybe something else As Orsino says atthe conclusion of Twelfth Night ldquoA naturalperspective that is and is notrdquo While makinga painting and even when it is finished Idonrsquot know really who my characters are ndashthey remain elusive But I like not knowingand ultimately meanings always change anddepend on individual perceptions

My experience at the Globe led to aparticular fascination with the ambiguous and

protean quality of the theatrical performerhow their identity transforms and fluctuatesI was attracted by this when watching

Rosalind Lyons

SHAKESPEARE magazine 31

Above A MidwinterNightrsquos Dream

Right Three Fools

Far right FollowingDarkness

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rehearsals observing actors shift between selfand impersonation between diff erent realitiesand identities When they are not acting theyndash metaphorically and often literally ndash melt

into the shadows I am interested too in thephysical and symbolic threshold between lsquoonrsquoand lsquooff rsquo-stage the transformation inherentin an actor moving from the wings onto thestage assuming another self and anotheridentity Particularly evocative is the fact thatactors were colloquially known as shadowsin the Elizabethan playhouses ndash suggestingsomething unknowable and insubstantialIn the Prologue to Henry V Shakespeare hasthe Chorus describe the players as lsquociphersrsquoimplying deception and secrecy

Artists in the past who have tackledShakespeare have generally produced imagesthat directly illustrate the text or representfamous actors or scenes from a particularperformance Today as well as on the stageShakespearersquos plays are frequently re-imaginedin very successful film and TV adaptationsbut I have struggled to find more than ahandful of contemporary fine artists whohave engaged with Shakespeare on any levelPerhaps Shakespeare as a subject is seen

by some as too traditional too lsquopopularrsquoor simply just too lsquooldrsquo But in the theatreand in literature there is an ever-increasingenthusiasm for innovative interpretationsof the plays and for me Shakespeare is aconstant inspiration

e Prologue of Henry V also urges theaudience to ldquoPiece out our imperfections withyour thoughtsrdquo to liberate the imaginationand create another kind of reality to shapeour own fantasies within the ldquowooden Ordquo of

the theatre In my paintings I endeavour todo the same

Explore the work of Rosalind Lyons atwwwrosalindlyonscom

Above These Two CreaturesBelow Therersquos Magic In Thy Majesty

Roaslind Lyons

32 SHAKESPEARE magazine

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$amp( ) +-01

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Aidan OrsquoReilly

34 SHAKESPEARE magazine

Looking forRichard AidanOrsquoReilly is playingShakespearersquosbaddest monarch

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Aidan OrsquoReilly

SHAKESPEARE magazine 35

You are legally blind having been

diagnosed with retinoblastoma as an

infant How did this impact on your

acting aspirations and early career

ldquoMy parents did a good job raising me Inever grew up thinking of it as a handicap orthinking it could hold me back from what I wanted to do I couldnrsquot play sports at all soI think my parents were grateful that I hadsomething that I was passionate about from avery young age

ldquoI went to a public elementary school with a program designed for the blind so itfelt very natural for me to be the way that I was And acting has always been part of thatrdquo

You went to RADA in London Was

there a reason why you wanted to

train in England and not in the US

ldquoItrsquos always been an ambition of mine to

travel as far and wide as possible Also myhero growing up was Peter OrsquoToole ndash Iread his autobiography in high school andlearned he had gone to RADA and decided I wanted to go there too So I auditioned therenot knowing that RADA is arguably thebest drama school in the English-speaking world Consequently I was quite relaxed atthe audition which is probably why I gotin My ignorance can sometimes serve me well Going to RADA was a life-changing

Aidan OrsquoReilly is an actor with an

inspiring story Legally blind since he

was six months old he forged a passionfor drama at an early age Aidan went

on to gain a BA with honours from

Londonrsquos Royal Academy of Dramatic

Art before touring for three years with

the American Shakespeare Center

In 2012 Aidan was diagnosed with

sarcoma a rare cancer He bounced

back in 2014 after intensive treatment

and is now cancer-free We spoke to

Aidan as he prepared to play the title

role in Richard III for Californiarsquos Marin

Shakespeare Company We asked himto share his story and to give us his

take on one of Shakespearersquos most

fascinating characters

Interview by Jen Richardson

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Aidan OrsquoReilly

36 SHAKESPEARE magazine

experience I was lucky enough to havecontact with brilliant professors and Irsquom stillin awe of the students I went to school withI wouldnrsquot trade that experience for anythingrdquo After graduating from RADA you

went on the road with the American

Shakespeare Center Tell us a bit

about that

ldquoThat was one of the happiest times of mylife In many ways I got spoiled I was a working actor 11 months out of the yeartouring nationally seeing parts of the USI had never been to before doing plays Iloved and working with directors who werevehemently faithful and respectful to the text When I wasnrsquot on the road I was in residenceat the Blackfriars Playhouse in StauntonVirginia with many extraordinary actorsI was very lucky to be thererdquo

Three years ago you were diagnosed

with sarcoma How did you

overcome this enormous challenge

and return to the stage in 2014

ldquoThe only reason Irsquom still alive is because ofmy mother Lily and my wife Jocelynn AlsoI was fortunate that we caught it before it hadspread and it was on my leg and away fromany major organs

ldquoI am very grateful for my team of doctorsat UCSF who did an incredible job in mytreatment and follow-up care Irsquom glad to beback to workrdquo Yoursquore now due to play Richard III

with Marin Shakespeare Company

Howrsquos it going so far

ldquoAt this point Irsquom in the paperwork stage

of things A lot of reading the HenryVI s biographies of Richard as well asperformance history of the play itself Irsquomdoing a fair amount of limping around myapartment as well I canrsquot wait to get intorehearsals next weekrdquo Tell us about Marin Shakespeare

Company and what appealed to you

about working with them

ldquoRobert and Lesley [Currier MSCrsquos Artistic

Director and Managing Director] arefascinating people Their intelligence andhumour is contagious Without questionthere is a lot to be learned from themrdquo Richard IIIrsquos remains were discovered

in 2012 and reburied this year Is all

the new information about Richard

influencing your portrayal

ldquoYes and no My job isnrsquot to play the historicalRichard but the Richard that Shakespeare has

Aidan believesthat Richard IIIrsquosobsession withcontrol is whatcauses his downfall

ldquoPeter OrsquoToole wasmy hero He went to

RADA so I wanted to go there toordquo

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Crowning gloryAidan with MarinShakespearersquosRobert Currier

created Itrsquos helpful to know the facts of thesituation in order to gain insight into whathas been changed in Shakespearersquos versionof events

ldquoI met with a friend of mine who is a

retired surgeon who walked me through themedical information that has come to lighton Richardrsquos body and I will certainly usethat to inform my physical choicesrdquo Unlike many actors yoursquore the right

age to play the historical Richard III

Do you feel Richardrsquos relative youth

has been overlooked

ldquoI do Richard is a young man who believeshe is hardened by the experiences he andhis family endured during the War of theRoses and believes himself to be beyondhuman emotions and the lsquorestrictionsrsquo of aconscience He isnrsquot He pays the bill for thehorrible things he does That lack of self-knowledge is not exclusive to youth but I feelit makes him more sympathetic and relatableto an audiencerdquo Some people think Richard III shows

Shakespeare delivering a highly

effective piece of Tudor propaganda

Where do you stand on thatldquoI think Shakespeare has a soft spot foroutsiders and underdogs Although his playssometimes work within the confines of thebiases of Elizabethan society he canrsquot help butmake his lsquovillainsrsquo fascinating human beings

For as horrible as Richard is itrsquos amazing tosee how audiences relate and respond to himrdquo Which other important themes do

you feel Shakespeare deals with in

the playldquoThe history plays are full of extraordinarypeople who waste their lives and intelligence who sacrifice their humanity in pursuit of thecrown Itrsquos still happening today What is theattraction of power Richard never pauses tothink of why he wants the crown or if hersquodbe any good as king Turns out hersquos not butitrsquos this bizarre obsession with control thatpropels him to kill everyone off thatrsquos in his way Itrsquos also fascinating that the one characterthat is consistently kind to Richard is hisfather York

ldquoI think an argument can be made thatRichard in his warped way is trying to liveup to the image he has of his father Ofcourse York is dead and gone by the timeRichard III begins but you can glean a lotabout Richardrsquos inner workings in the way hespeaks about his father Of course itrsquos foolishto try to answer questions that Shakespearedoesnrsquot and Irsquom not trying to say this solvesa mystery but I think itrsquos interesting Itrsquos only

an element itrsquos not the answerrdquo Richard III is listed as a historical

play in the First Folio but in the

quarto edition it is termed a tragedy

Which category would you put the

play in and why

ldquoI think of the history plays from Richard II to Richard III as one vast play an epic thatencompasses all the categories I think if youlook at Richardrsquos progression through those

plays you see a great mind warped by the War of the Roses and that certainly adds tothe tragic element I think of Richard III asthe final chapter of a great epicrdquo

Aidan OrsquoReilly stars in Marin ShakespeareCompanyrsquos Richard III from 4-27 September

Aidan OrsquoReilly

SHAKESPEARE magazine 37

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Scotland Shakes

SHAKESPEARE magazine 39

Bonnie Prince

Brian Fergusonas Hamlet in theCitizens Theatre

production Photoby Tim Morozzo

Billy William Shakespeare is undoubtedly Englandrsquos

Bard But how is he viewed north of the border

Our Caledonian correspondent surveys the state

of Shakespeare in Scotland and meets esteemed

outdoor theatre company Bard in the Botanics

Words Paul F Cockburn

T owards the end of May thisyear a BBC Scotland afternoon

news bulletin surprisinglyturned its attention to aforthcoming production of

ldquoone of William Shakespearersquos best lovedplaysrdquo ndash A Midsummer Nightrsquos DreamHowever this particular production wasnrsquotconsidered newsworthy because it came froman amateur group based in Dumfries andGalloway Not even that the CrossmichaelDrama Club were one of just seven amateurScottish groups taking part in the Royal

Shakespeare Companyrsquos Open Stages project which aims to help amateur companies

extend their repertoiresNo the lsquohookrsquo was how this newproduction was Shakespeare ldquobut no asyou micht ken itrdquo Because it had beenreimagined in Scots as A MidsimmerNichtrsquos Dreme

As it happens writer John Burns saysthat his principle reason for translating AMidsimmer Nichtrsquos Dreme was simply theintuition that it being in Scots would workto the benefit of the production ldquoItrsquos not

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Scotland Shakes

40 SHAKESPEARE magazine

so much that 16th century English canrsquot docertain things more that using Scots brings itcloser to a Scottish audience and to audiences who might think Shakespeare too fancyrdquo hesays ldquoI feel too that Scots can catch the sheerphysical power of Shakespearersquos language He writes lines you really feel physically when

you say them out loud My intention was touse Scots to produce a text that was actableand which would be accessible and enjoyablefor the audience and the Scots was a majorpart of thatrdquo

Arguably translating Shakespeare intoScots ndash viewed by many as a distinct languagefrom English ndash is just one way of finding thecontinued relevancies of Shakespearersquos writing with the here and now Certainly John Burns was keen to see if Scots ldquocould match the way

Shakespeare switches tonehellip from broad attimes bawdy humour to moments that aremore serious or even sinisterrdquo

Yet there is a wider perspective whether wersquore discussing translation into Scots orsaying Shakespearersquos words with a Scottishaccent Willy Maley and Andrew Murphyin their introduction to Shakespeare andScotland (published by Manchester UniversityPress in 2004) go as far as describing thetranslation of Shakespearersquos Macbeth into

Scots as ldquoa patriotic actrdquo not least becauseof ldquothe political commitment implicit intranslating from English to Scots reversing

the dominant dubbing practice infi

lmsrdquoGlasgow-based novelist and playwright Alan Bissett ndash who actively campaigned fora Yes vote during last yearrsquos IndependenceReferendum ndash has since written about howsince the 1970s Scottish theatre had ldquoadeep engagement with the shifting beastof Scottish politicsrdquo Although Bissett wasfocusing primarily on original works byScottish playwrights and directors itrsquos worthpointing out that Shakespeare ndash despite therebeing absolutely no evidence to prove he evertravelled north of Carlisle ndash has played hisown part in this

As Maley and Murphy point outldquoScotlandhellip never had precisely the samerelationship with the Bard as England hasbut has experienced a fraught process ofappropriation incorporation and resistancerdquoIn part this is because Shakespeare ndash in hislatter career ndash was among the first lsquoBritishrsquo writers Many of his later plays ndash Cymbeline King Lear even Hamlet ndash were produced

A tartan-cladAntipholus andDromio in Bard inthe Botanicsrsquo TheComedy of Errors

Brian FergusonrsquosHamlet CitizensTheatre productionPhoto by TimMorozzo

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under the patronage of Scotlandrsquos King JamesVI (aka James I of England) Each in theirown way can be said to touch on ldquothe matterof Britainrdquo the complex relationship between

the constituent elements of Jamesrsquos newlsquounitedrsquo kingdom which the Stuart monarch was determined to see joined into oneat never quite happened of course

Even after the 1707 Act of UnionScotland retained its own legal educationaland religious systems along with anaccompanying sense of Scottish identity ndash which survived even the height of the Britishempire Yet from the 1970s on there havebeen notable changes in how Shakespeareis treated by Scotlandrsquos producing theatrecompanies Several years ago GlasgowrsquosCitizenseatre delivered a powerful Romeoand Juliet in part because of their decision toset the action in a present-day sectarian Westof Scotland ndash with accents to match

ldquoEnglish-accented Shakespeare carriesa specific resonance in Scotland one thatdirectors usually choose to avoidrdquo pointsout Mark Fisher a freelance journalist criticand author of the forthcoming book How toWrite Abouteatre

ldquoIrsquom not sure exactly when attitudesstarted to change but Irsquod say the argumentin favour of Scottish-accented productionshad been pretty much won by the 1990sBy that time companies such as Raindogand directors such as Hamish Glen hadbeen making a point of casting very Scottishproductions of Shakespearerdquo

One example of how things hadprogressed even by 1992 was the late KennyIrelandrsquos production of A Midsummer

Nightrsquos Dream his first as Artistic Directorat Edinburghrsquos Royal Lyceum ldquoHe castthe mechanicals with Scottish accents andeveryone else with English accentsrdquo MarkFisher explains ldquois I said in my review wasa fundamental error ndash or some such phrasee message it sent out was that people withScottish accents were foolish figures of fun whereas people with English accents wereserious figures of respect

ldquoIreland reacted furiously to my review

and made the case that he had based thecasting of the mechanicals around (the actor) Andy Gray who has a Scottish accent Inother words the meaning I inferred hadnot been deliberate I think itrsquos true to sayhowever that Ireland never cast a Shakespearelike that againrdquo

Gordon Barr is Artistic Director of

Glasgow-based Bard in the BotanicsScotlandrsquos only professional Shakespearecompany (see following pages)

ldquoWersquove never gone out of our way tomake Scottish versions of these texts norhave we gone out of our way to have classicaltraditional voicesrdquo he says ldquoMost of our coreactors have made their careers up here so wethink of them as Scottish actors

ldquoat is important to us to not overlylook outwards for the acting company As

much as possible we work with people who are based in Scotland Wersquore regularlyproducing Shakespeare here and we want tobe a part of the training to ensure that there isa range of strong classical actors hererdquo

Citizens Theatrewwwcitzcouk

Owen Whitehawas the Fool andDavid Hayman asLear in CitizensTheatrersquos King Lear Photo by TimMorozzo

Scotland Shakes

SHAKESPEARE magazine 41

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Bard in theBotanicsrsquo As You Like

It takes Rosalind andOrlando into theopen air

ldquoTouring is something that we have wanted to do foryears but was somethingthat we could not afford

to do without fundingrdquo says Gordon Barr Artistic Director of Scotlandrsquos only professionaloutdoor Shakespeare festival Bard in theBotanics If therersquos any irony attached tothe companyrsquos first major tour of Scotland which took place in early 2015 itrsquos that theperformances of their acclaimed Romeo and Juliet ndash featuring a cast of five ndash were playedexclusively indoors

ldquoNobody is touring classical theatre in

Scotland at the minute so itrsquos importantto usrdquo Barr adds ldquoOur work is so muchabout accessibility One of the joys of beingoutdoors is that people come to see the work who wouldnrsquot buy a ticket for a theatre Ifyou can bring a picnic sit out on the grass while watching the show it feels easier moreaccessible But people canrsquot come from Thursoto Glasgow for a night just to see a productionof Shakespeare They should be able to see itin Thurso So that is kind of where the urge totour came fromrdquo

Bard in the Botanics has presented outdoorShakespeare within the grounds of GlasgowrsquosBotanic Gardens since 2003 This yearrsquoslsquoUnlikely Wondersrsquo season presented newproductions of Loversquos Labourrsquos Lost The Merchant of Venice Richard II and A Midsummer Nightrsquos Dream in lsquoreprsquo between24 June and 1 August

The companyrsquos founder Scott PalmerBarr explains had done a lot of his training atthe Oregon Shakespeare Festival one of the

biggest in North America ldquoWith the kindof drive and enthusiasm that only Americanshave he managed to convince the entire cityof Glasgow that outdoor Shakespeare would work and that the weather wasnrsquot going to be

a problemrdquoTwo years later Palmer moved on and Barr

ndash originally involved as a director ndash succeededhim as Artistic Director ldquoIf anyone then hadsaid that I would end up spending 12 yearsrunning an outdoor Shakespeare festival I wouldnrsquot have believed themrdquo he says in hisoffice hidden behind some of the Botanicsrsquogardening sheds ldquoI very quickly fell in love with it once I started working here Despiteall the trials and tribulations that outdoortheatre in Scotland brings with it therersquos just

something magical and special about it Itrsquos a very close-knit company and thatrsquos sort of keptus all here as long as we have beenrdquo

While the annual summer season ofShakespeare plays in the Botanics will remainat the centre of what the company does ndashldquoOtherwise Bard in the Botanics becomesa rather strange namerdquo ndash Barr is very much

Outof theGarden

This year has seen Glasgowrsquos Bard in the Botanicsdo something completely unexpected They wentout on a tour of ndash whisper it ndash indoor venueshellip

Scotland Shakes

42 SHAKESPEARE magazine

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Scotland Shakes

SHAKESPEARE magazine 43

focused on building on the touring side ldquoBecause it was our first ever tour we

did end up taking Romeo and Juliet to theestablished Scottish touring circuitrdquo he addsldquoIt takes a while to build up relationships with the smaller venues thatrsquos going to bean ongoing process for us Even so we weretaking Romeo and Juliet to places like Mulland Stranraer ndash communities and venues thathavenrsquot had a lot of classical theatre comingthrough themrdquo

The choice of play was deliberate too ldquoIt was a production that was ready to go whichhad received five star reviews and sold out itsextended run in the Botanics in 2012 So weknew that the work was good but therersquos nodoubt that for a first tour we wanted to makeit easier for the venues to sell it Most venuesknow they can find an audience for Romeo and Juliet rdquo

In time he hopes that audiences aroundthe rest of Scotland will come to trust the Bardin the Botanics name sufficiently to take on theless familiar plays

ldquoYou just donrsquot know how quickly acommunity is going to turn out for Henry IV yetrdquo he says ldquoHopefully three or four toursdown the line theyrsquore going to turn out forBard in the Botanics ndash and if it happens to be

Henry IV well thatrsquos greatrdquoGiven their reimagining of A MidsummerNightrsquos Dream as a 1920s burlesque musicalis there a particular Bard in the Botanicsapproach to Shakespeare

ldquoOur kind of unofficial motto is lsquoBe BoldBe Braversquordquo Barr says ldquoIf wersquore continuingto stage these plays around 400 years afterShakespearersquos death I think therersquos an urgencyto ask lsquoWhyrsquo It is important to questionlsquoWhat is the story that we want to tellrsquo I wantto see how these plays intersect with historyand todayrsquos society not to present museumpieces

ldquoItrsquos always with an eye to try to releasesomething thatrsquos within the textrdquo Barrinsists ldquoWersquore not remotely interested ininnovation for innovationrsquos sake The playsare masterpieces thatrsquos essentially why wersquorestill doing them 400 years later But to revealsomething thatrsquos unexpected or new thatrsquosimportant to usrdquo

Bard in the Botanics

wwwbardinthebotanicscouk

Rosalind and Audreyin the forest Bardin the Botanicsrsquo As You Like It

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Shakespeare at the Tobacco Factory stf 2016 Seasonco-production with Tobacco Factory Theatres

HAMLETBy William Shakespeare

Directed by Andrew Hilton

Main run Thu 11 February ndash Sat 26 March 2016

In repertoire with Allrsquos Well That Ends WellMon 25 ndash Wed 27 April Sat 30 April 2016

The most famous play in world drama Hamlet

turns a new face to every decade So many

elements - political madness sex murder ndash all

brought together in a drama that is both a thriller

and the profoundest meditation on our human

condition

ldquoThrilling workrdquo The Guardian on Romeo amp Juliet

ldquoBullseyerdquo WhatsOnStage on Romeo amp Juliet

Shakespeare at the Tobacco Factory Friends Priority Booking opens Wed 23 September 10am

wwwstf-theatreorguk

Tobacco Factory Theatres Members Priority Booking opens Wed 16 September 10am

wwwtobaccofactorytheatrescom

Public Booking opens Wed 30 September 10am

Tobacco Factory Box Office 0117 902 0344

ALLrsquoS WELL THAT ENDS WELLBy William Shakespeare

Directed by Andrew Hilton

Main run Thu 31 March ndash Sat 23 April 2016

In repertoire with Hamlet

Thu 28 ndash Fri 29 April Sat 30 April

A young woman using skills bequeathed herby her father saves the French Kingrsquos life and

is rewarded with the right to choose her own

husband But what if the chosen one wonrsquot play

the game How can she get him into bed How

can she make him love her

ldquo There is something approaching real

magic hererdquo The Arts Desk on The School for Scandal

P h o t o s M

a r k D o u e t

Dorothea MyerBennett in Richard III

Benjamin Whitrowand Julia Hills in The

School For Scandal

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Having conquered

Hollywood and vanquished

the global entertainment

industry video games now

on our culture So where

does the Bard stand in all of

this We sent a Shakespeare

scholar to investigatehellip

Words Andrew Bretz

Shakespeare video games

46 SHAKESPEARE magazine

T eGamersquos A oot Silent Hill is one

big-name gamewhich includesShakespearereferences

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Shakespeare video games

SHAKESPEARE magazine 47

German cardboard Macbeth datingfrom the early1800s

Hamlet reimaginedRyan Northrsquos To Be

Or Not To Be

W

hen you walk intothe wood panelled Victorian Gothicismof the Gail Kern Paster

Reading Room at theFolger Shakespeare Library in WashingtonDC video games are probably the lastthing on your mind Buried deep withinthe archives however are a set of fragilecardboard figures printed in Germany in theearly 1800s representing each of the maincharacters of Macbeth

Nineteenth century German children would play with these figures on smallcardboard stages no bigger than a dollhouseey could replicate the story as it was toldin Shakespeare or use their imagination tochange the ending letting Lady Macbethsurvive and bringing Duncan back from thedead if they so chosee limits of the game were the limits of their imagination

Today the lsquogamificationrsquo of Shakespeareis a big business from Ryan Northrsquos choose-your-own-adventure edition of Hamlet To Be Or Not To Be to IDW Gamesrsquosupcoming Kill Shakespeare board gamebased on the comic of the same name

Gamifying Shakespeare is filtering intoschools libraries and the theatrical worldas well with the University of California atDavis the Stratford Festival in Ontario theGlobeeatre in London and the LondonMetropolitan Archives all experimenting with video game elements in exhibits productionsand research

Why video games In a sense this is thelogical next step in the media development ofShakespeare Hersquos everywhere in other media

books movies merchandise But videogamese answer for that depends on whoyou ask

StorytellingOccasionally individuals or publishinghouses develop video games that try to tellthe story of say Hamlet yet this is relativelyrare One example would be Elsinore a time-looping narrative adventure game set in the world of the play Players play the game as

Ophelia who wakes up knowing that in fourdays the entire court will be dead and shemust do something to stop ite problemis that she is stuck in a time loop reliving thesame four days over and over againat said Shakespearersquos presence in the

video game industry tends to be focused oncitation rather than adaptation of the playsat is video games for Xbox Playstationand other popular gaming systems often

just cite Shakespearersquos plays as a part of acommon cultural heritageese games donrsquotrestage say Hamlet but they quote the playIn these cases Shakespeare is used to establisha point of identification for the audience His writing tells the audience something aboutthe character or the situation

Given that audiences are supposedto be able to identify the quotations asShakespearean it is unsurprising that Hamlet is the most popular text for game designers to

cite Ine Elder Scrolls Online for instancea merchant NPC (non-player character)quotes Polonius when players interact sayingldquoNeither a borrower nor a lender berdquoe words establish the NPCrsquos role as a merchant while fitting the medieval world of thegame In the game LA Noire upon pickingup a fake shrunken head at a crime scene adetective leaps into high melodrama withldquoAlas poor Yorick I knew him Horatiordquoequotation and the clever voice acting establish

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Shakespeare video games

48 SHAKESPEARE magazine

the characterrsquos strait-laced yet macabre senseof humour

Sometimes citing Shakespeare is a partof a critique of a larger theme In the game Mass E ff ect the Elcor are a race of elephantinealiens who preface all statements with adescription of the emotion they are feelingand who speak in a slow monotonous drone As players interact with the expansive worldthey can discover a number of advertisementsfor an all-Elcor Hamlet e idea of theElcor actor ndash the ultimate in a flat woodenperformer ndash having to preface ldquoTo be or not

to berdquo with ldquomorose ruminationrdquo goes beyondthe simple humour of a bad Shakespeareperformance It subtly asks what it is aboutacting (and especially voice acting) that isvaluable

Shakespeare can appear in video gamesnot merely as a marker or contextualisationtool but as a part of a puzzle For example inthe game Silent Hill 3 players must arrange aset of Shakespeare anthologies on a bookshelfin an abandoned shopping mall in order to

proceed in the game At the hardest levelthe puzzle clue takes the form of a poemthat references all the major tragedies Romeoand Juliet King Lear Macbeth Othello andof course Hamlet e bloody nature of thetragedies fits with the bloody nature of theSilent Hill series of games which fall into thesurvival horror genre

Popular video games have also servedas the inspiration for games that engage with Shakespeare in a more direct way For

example Daniel Fischlin at the Universityof Guelph in Ontario Canada led a teamthat created a Flash game called rsquoSpeare Itrsquos

a scrolling arcade-style game suggesting thersquo80s hit Galaga which sees players identifyingand navigating through a series of enemies who turn into words upon being destroyede player progresses through the levelsby collecting the correct words to createShakespearean quotes learning Shakespeareantrivia along the way

ImmersionOne of the most exciting aspects of videogames is the ability to immerse the player inthe world of the game in a way that othermedia simply cannot do Being able to walkaround Prosperorsquos cell Julietrsquos balcony orto stand before the ghost of Hamletrsquos fatheras he cries out ldquoList list O listrdquo ndash theseexperiences are made possible through videogame technology

Students of Scenic Arts at the Universityof Hildesheim in Germany created Projekt ARIEL or SturmMOD in 2008 using a lsquomodrsquo(or modification) to the engine that runs

the game Far Cry 1 e performance artproject allowed users to experience Prosperorsquosisland interacting with certain parts andexploring others Players could walk aroundan imaginative rendition of Prosperorsquos cell and witness or interact with elements of the playincluding diff erent characters like CalibanProspero and Miranda

Four days to savethe Danish court

Elsinore

Another Hamlet reference this timein LA Noire

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Shakespeare video games

SHAKESPEARE magazine 49

Gina Bloom at the University of Californiaat Davis is presently spearheading a projectthat will be demonstrated in the lobby of theStratford Festival theatre in Ontario Canadathis summere project Play the Knave AShakespeare Performance Videogame lets usersdesign a virtual performance space and thenperform a scene from a Shakespeare playinhabiting this constructed space with anavatar As a Davis insider explains ldquoWe use akinect motion capture camera to capture theuserrsquos skeletal data so that players use theirentire bodies to control their avatarrsquos gesturesonscreen all the while reciting the lines from

Shakespearersquos scenerdquo is literally immersesthe players in the scene

Shakespearersquos Globe eatre in Londontook another tactic regarding immersionin the production of the game HemmingsrsquoPlay Company Hosted on the Playgroundportion of the Globersquos website and thusaimed at an audience of children the gamehas players taking on the role of Hemmingsan Elizabethan bear who leads a troupe oftheatrical animals such as Kit the Cat Dekker

the Dog and Slye the Foxe turn-based game leads players through

the vagaries of Elizabethan theatre practicefrom patronage to lost props and the plagueBy the end of the game players must earnenough money to rebuild the Globe after itburns down during a performance of HenryVIII

Also from Shakespearersquos Globe are twoinnovative video experiences created forchildren aged five to 11 e first Exploring

Shakespeare features two boys on a tour ofthe Globe theatre who sneak off to explorebackstage e video illustrates four plays

using short animations that are keyedto things the boys find backstage etechnology combines live action film andanimation to create an interactive touchablegame Filled with mini-games quizzes andinteresting facts about Shakespeare the gameallows players to click through the narrativeor to stop and learn more as they go along

e second video called Staging It usesthe same technology as the first film but thistime is for the 11-16 age group In this gamee Globe has filmed two actors performingfamous duologues from A MidsummerNightrsquos Dream and Macbeth on the Globestage Rather than shoot it once the actorshave performed their lines in diff erent ways(happy flirtatious defensive and so on)creating several diff erent clips per linePlayers can watch each of the clips and addtheir choice to a dynamic storyboard tobuild up their final scene Impressively theplatform allows for up to 1000000 diff erentcombinations of clips

Apps and Mini-GamesItrsquos when you start to look outside of therealm of popular video game platformslike Xbox or Playstation that Shakespeare

Silent Hill 3 Brush upyour Shakespeare ifyou want to survive

Hemmingsrsquo PlayCompany fromShakespearersquosGlobe

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Shakespeare video games

50 SHAKESPEARE magazine

really starts to pop up wherever you looke ubiquity of Shakespeare is especiallynoticeable when you start to look at apps andmini-games designed for phones and tablets

In 2012 Big Fish Games released aniPhone and iPad game called Hamlet that featured all the main characters ofShakespearersquos play but transposed them intoa save-the-princess narrative puzzle game A time traveller lands in Denmark andaccidentally kills Hamlet and so players mustcomplete his journey for him saving Opheliaand killing Claudiuse Shakespeareancontent is minimal and heavily adapted andyet it fits with the puzzle format in whichShakespeare tends to be found in videogamese Chronicles of Shakespeare Romeo amp

Juliet ande Chronicles of Shakespeare A Midsummer Nightrsquos Dream are lusciously-illustrated puzzle games for the PC In themplayers act as one of the characters from theplays gathering items and clues through aShakespearean environment

Among the literally thousands of appsrelated to Shakespeare that can be found forthe iPad or Android tablet are

e Shakespearean Insult Creator which generates invectives drawn from a wholly Shakespearean vocabulary So nexttime you want to call someone a jerk trysomething more like ldquoou fusty follyfallenfustilarianrdquo

e Shakespeare Translator whichtranslates ldquonormal English words and phrasesinto the words of Shakespeare himselfrdquo

e Shakespeare Fortune Cookie which provides short quotes from the plays

and a small trivia game Shakespeare or Die a game that

scrambles the words of famous quotationsfrom the plays and asks you to identify theplay and character who spoke the line If youmake a mistake however beware the witchesese apps are either explicitly games or

they are coming out of a game-like impulse tomake Shakespeare more accessible to everyone with an internet connection

Brave New WorldsIn a world where Shakespeare is an industrycounted in the millions of dollars per yearit is so easy to forget that Shakespearersquos playsare just that ndash playsere is a sense of joyand fun and happiness embedded in theexperience of watching them Games are oneof the ways that people over the centuries

have tried to recapture that elusive sense ofplayfulness within Shakespeare So it makesperfect sense that now with the advent ofdigital technologies Shakespeare is movinginto the digital world with a vengeance

From big studio games likee ElderScrolls to small apps that can be downloadedfor free from talking bears to immersiveperformance experiences Shakespeare iseverywhere in video games Rather than beingan undiscovered country into which the Bard

is only just beginning to emerge games havein fact engaged with Shakespeare and his works for hundreds of years And they willprobably continue to do so for hundreds ofyears to come

rsquoSpeare is a scrollingarcade-stylegame with addedShakespeare trivia

Hamlet is aShakespeare-themed puzzle fromBig Fish Games

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Meet thy makers

Helen Mears fell into bardolatryduring her teenage years and has

never recovered She is a volunteersteward at Shakespearersquos Globe

which ensures a regular diet of theBard She teaches English Film andMedia at Suffolk New College and isa specialist in teaching Shakespeareusing active methods Her favouriteShakespearean actor is Jamie Parker

and her favourite plays are the SecondHistory Tetralogy She hopes to

finish her Masters in the AdvancedTeaching of Shakespeare very soonFind her on Twitter hipster_hels

Paul F Cockburn is an Edinburgh-based freelance magazine journalist who specialises in writing about

arts and culture equality issues andpopular science Hersquos sufficiently

grey-haired for his English Literaturetraining to have sort of overlapped

with The BBC Television Shakespeareproject saving at least some of the

plays from death by academiaFind him on Twitter paulfcockburn

Jen Richardson first fell in love withShakespeare as a 15-year-old schoolgirl

ldquoHe got under my skin and hersquos still theretodayrdquo After training with a Manchester-based drama tutor she went on to pursuean acting career Drama remains a greatinterest but her focus is now on sharing

her passion for Shakespeare throughher writing In her spare time Jen is

generally down in Stratford-upon-Avonsitting on her favourite bench behind

Holy Trinity ChurchFind her on Twitter The_JenJen

Andrew Bretz is a sessional instructorof English Literature and Drama

specialising in early modern dramaHe has taught at Wilfrid LaurierUniversity the University of Guelph

Brock University and McMasterUniversity For the past two years he

has taught a special summer intensiveat Ontariorsquos Stratford Festival His PhDdissertation was on the representationof sexual violence on the early modern

stage Find him on TwitterAndrewBretz001

Just some of the contributors to this issue of Shakespeare Magazine

Rosalind Lyons is a painter whohas exhibited widely in both mixedand solo shows with work in UK

and international private collections A life-long love of Shakespeare isreflected in many of her paintings

and a particular recent focus isShakespearersquos Globe theatre where shespent a period as artist-in-residenceShe is currently studying for a PhD

in Painting and ShakespeareanTheatre at Anglia Ruskin University

in CambridgeFind her on Twitter roslyons

52 SHAKESPEARE magazine

Contributors

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Page 4: Shakespeare Magazine 08

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Contents

Shakespeare MagazineIssue Eight

August 2015

Founder amp EditorPat Reid

Art EditorPaul McIntyre

Staff WritersBrookeomas (UK)

Mary Finch (US)

WritersLiz Barrett

Andrew BretzPaul F CockburnRosalind LyonsHelen Mears

Jen Richardson

Chief Photographer Piper Williams

Thank YouMrs Mary Reid

Mr Peter RobinsonMerchant Taylorsrsquo School Crosby

Web designDavid Hammonds

Contact Usshakespearemagoutlookcom

FacebookfacebookcomShakespeareMagazine

Twitter UKShakespeare

Website wwwshakespearemagazinecom

4 SHAKESPEARE magazine

At last A magazine with all the Will in the world

Issue 8FREE

Hamlet

SweetHomeShakespearersquosStratford-upon-Avon itrsquos our

essential guide

ScreenSavers

Video GamesThe future of

Shakespeare

NativeTongues

The sound ofShakespeare

in Scotland

Paintingthe BardThe haunting

Shakespeare artof Rosalind Lyons

Shakespearersquos hottest ticketBENEDICT CUMBERBATCH

is Burning at the Barbican

6 BigBen

Itrsquos the Shakespeare event

of the Year BenedictCumberbatch is Hamlet

18 No PlaceLike Home

Back to where it all began

exploring Shakespearersquos hometown Stratford-upon-Avon

28 PaintingShakespeare

Magical haunting and dream-like the Shakespeare art ofRosalind Lyons

34 Killingthe King

Actor Aidan OrsquoReilly tells ushow hersquos preparing to playShakespearersquos Richard III

39 BonniePrince Billy

You havenrsquot heard Shakespeareuntil yoursquove heard it in theoriginal Scottishhellip

44 e Gamersquos

AfootCould the dizzying digitalworld of video games be

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Benedict Cumberbatch

6 SHAKESPEARE magazine

BigBen

ldquoHow weary stale fl at and unpro fi table

Seem to me all theuses of this worldrdquo [I 2]

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Perhaps the quintessentially English actor

Benedict Cumberbatch is taking on the

quintessentially English poet and playwright

William Shakespeare His new Hamlet

is the fastest-selling production in London

history but which other Shakespeare roles

has Benedict played And how does he feel

about tackling The Big One

Words Helen Mears Photos Johan Persson

Benedict Cumberbatch

SHAKESPEARE magazine 7

Lyndsey Turnerrsquos 2015production of Hamlet

features striking setdesigns by Es Devlin

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Benedict Cumberbatch

8 SHAKESPEARE magazine

and Romeo and Juliet playing Orlando andBenvolio respectively

Shakespeare does not feature again inCumberbatchrsquos CV Instead he worked his way through acclaimed TV work such as hisportrayal of Steven Hawking in 2004 bio-drama Hawking and his role as the troubledartist Vincent Van Gogh in 2010rsquos VanGogh Painted with Words and film roles in Atonement (2007) and The Other Boleyn Girl (2008) before breaking big in 2010 with theBBCrsquos Sherlock The programme was a world- wide success and propelled Cumberbatchonto the acting A-list Since then he hasfeatured in Star Trek Into Darkness (2013) 12Years a Slave (2014) and two of the Hobbit films (2013-14) in which he voiced thedragon Smaug He also made a huge successof The Imitation Game (2014) in which heplayed codebreaker Alan Turing

Now Benedict is returning to Shakespeare with vengeance with two major roles on

stage as tragic hero Hamlet and on BBCTV as arch-villain Richard III in The HollowCrown The Wars of the Roses A taster came inthe BBCrsquos Lifetime of British Drama promo where he beautifully recites the Seven Agesof Man speech from As You Like It over clipsfrom classic BBC dramas past and present

Incredibly Cumberbatch is himself adistant descendant of Richard III The actorread Carol Ann Duffyrsquos specially-composedpoem lsquoRichardrsquo at his ancestorrsquos re-interment

at Leicester Cathedral in March 2015 Hefelt honoured to have been involved and itseemed particularly apt that he was filmingthe role of Richard at the time of thishistoric event ldquoHaving just played his verydifferent Shakespearean characterisationrdquo

Benedict will beseen as Richard IIIin the second cycleof the BBCrsquos The

Hollow Crown

B enedict Cumberbatchrsquos professionalrelationship with Shakespeare began early inhis career back in 2001 He appeared in theNew Shakespeare Companyrsquos productions inRegentrsquos Park playing the King of Navarrein Loversquos Labourrsquos Lost and Demetrius in A Midsummer Nightrsquos Dream As he told Whatrsquos

On Stage in 2005 ldquoThey were my first twoprofessional roles in the theatrerdquo In theinterview he also stated that Shakespeare was his favourite all-time playwright Thispresumably influenced his decision to returnto Regentrsquos Park in 2002 for As You Like It

ldquoYou wouldnrsquot look twice at Richard Hersquos avery dangerous charming powerful manrdquo

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Benedict with MartinFreeman (left) in theBBCrsquos Sherlock

Rehearsals forHamlet July 2015

Benedict Cumberbatch

SHAKESPEARE magazine 9

he commented ldquoI was intrigued to see whatthe real historical event would be like andto be a part of this extraordinary moment ofremembrance Then what really sealed thedeal was this beautiful poemrdquo

Benedict feels that the discovery ofRichardrsquos remains has changed peoplersquosperceptions ldquoI think the debate in historicaland archaeological terms about the reality ofhim and his kingship is whatrsquos extraordinaryto witness nowrdquo

He also recognises the perilous appealof Shakespearersquos Richard ldquoYou wouldnrsquotlook twice at him necessarilyrdquo he said ldquobutonce he had you in his beamhellip Hersquos a verydangerous charming powerful manrdquo

Cumberbatch was boldly instrumentalin Dame Judi Denchrsquos appearance in TheHollow Crown The Wars of the Roses Heattended a Shakespearean workshop eventat which the veteran actress was appearing When the audience were asked if they hadany questions he leapt into action askingldquoWould you like to be in Richard III withmerdquo Dame Judi naturally accepted

And fans of Sherlock will already knowthat Andrew Scott who played criminalmastermind Moriarty will also be appearing

in The Wars of the Roses as the French KingLouis

But itrsquos Cumberbatchrsquos run as Hamlet

at Londonrsquos Barbican that is arguably the Shakespeare event of 2015 It sold out inrecord time (although the venue promisethat day tickets will be available for eachperformance) as fans worldwide foughtfor their chance to see Benedict play theDane It is clearly the fruition of a dream forCumberbatch Indeed when asked at 2012rsquos

Cheltenham Literary Festival which play he would choose if he could only perform onemore stage role he opted for Hamlet ldquoEveryactor wants to have a go at itrdquo he said ldquoand I want to have my go at it and I will But wersquore working out when and howrdquo

Well the ldquowhen and howrdquo is right nowBenedict Cumberbatchrsquos career has come fullcircle from his first professional performanceof Shakespeare to playing his dream role Ifyoursquore lucky enough to have a ticket yoursquoll

be witnessing the most talked-about andfeverishly-anticipated theatrical event in yearsIf not therersquos always those queues for daytickets Wersquoll see you there

Hamlet runs at the Barbican Theatre

London until 31 October

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Shakespeare On Sale

SAVE 25 Since 1941 Dover Publications has built its reputation by offering remarkable books at

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The complete collection of comedies historiesand tragedies all in compact 5rdquo x 8rdquo unabridgedpaperback editions The lowest-priced editionsavailable for todayrsquos educators students actorsand Shakespeare lovers of every kind

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P l u s M or ehellip

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G A L L E R Yamp R E V I E WFor a generation of Cumberbatch fans lsquoBenedict at the Barbicanrsquo is the

most sensational and controversial Shakespeare production of a lifetime

Images Johan Persson Words Liz Barrett

Hamlet

ldquoTo be or not to be ndashthat is the questionrdquo[III 1] Controversially the playrsquos most iconicspeech was moved to the beginningAs we went to press however thisdecision had apparently been reversed

Benedict Cumberbatch

SHAKESPEARE magazine 11

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Benedict Cumberbatch

12 SHAKESPEARE magazine

ldquoA villain kills my father and for thatI his sole son do thissame villain sendTo heavenrdquo [III 3]

ldquorsquoTis in mymemory lockrsquod And you yourself

shall keep the key of itrdquo[I 3] Ophelia (Siacircn Brooke)

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Benedict Cumberbatch

SHAKESPEARE magazine 13

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Benedict Cumberbatch

16 SHAKESPEARE magazine

ldquoAnd yet to me whatis this quintessence

of dustrdquo [II 2]

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Even more than London there

is one place above all that is

green and pleasant landhellip

Words Helen Mears

Pictures Helen Mears and Susan Braund

Stratford-upon-Avon

SHAKESPEARE magazine 19

W e could be in any smallpicturesque Englishtown with its medievalchurch half-timberedTudor buildings shops

restaurants and delightful riverside walksBut Stratford-upon-Avon is not just any

town Itrsquos one of the best-known most- visited and probably most-loved locations inEngland Thatrsquos because itrsquos the birthplace of William Shakespeare Itrsquos also the place heseems to have considered his home After allShakespeare grew up there went to schoolthere and spent his final days there

So here is Shakespeare Magazinersquos on-the-ground guide to Stratford-upon-Avon Hereyoursquoll find hints and tips for first-time visitorsand returning aficionados alike What to see

the best ways to see it where to stay where toeat and how to get around while yoursquore there Are you ready Then letrsquos start our tourhellip

The BirthplaceSurely the must-visit spot for any self-respecting Bardolator this is where it all beganndash the six-roomed Merchantrsquos House on HenleyStreet where in April 1564 Mary Shakespeare wife of glover John gave birth to their famousson Williame house is approached

HOME

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20 SHAKESPEARE magazine

through the Shakespeare Centre on the left-hand side of the Birthplace A short exhibitionshows you items such as a prized First Folioand the foot of Stratfordrsquos Old Market Cross

from where glover John Shakespeare wouldhave sold his wares A walk through the gardens leads to

the house itself You enter through theself-contained annexe where William and Anne Shakespeare spent the first years oftheir married life and where their childrenSusannah Judith and Hamnet were born eannexe was later occupied by Williamrsquos sister Joan You can walk through the parlour andthe dining room to Johnrsquos workshop where heproduced gloves and other leather goods

A staircase leads to two bedrooms onefor the girls one for the boys and a loft spaceis visible where the apprentices would haveslept Finally you reach the birth room themain bedroom in which William and his sevensiblings were born

Guides are on-hand in all rooms to tell youtheir history and other gems of informationComplete your visit by watching classicShakespearean speeches performed in thegarden by resident acting troupe Shakespeare

Aloud and then picking up some souvenirs inthe gift shop and excellent bookshop

e five house ticket is the best value givingyou entry to all of the properties (HarvardHouse is a current alternative to New Place)and allowing you to view Shakespearersquos Gravein Holy Trinity Church

The Avon and Boat trips A walk along the Avon is a must in any seasone gentle stroll from the RSC to Holy Trinity

Church will take you past drooping willowssmoothly sailing swans and green parklandFor a diff erent perspective on the town you cantake a boat trip along the river itself Startingfrom near the RSCeatre you cruise gentlydown to the church where Shakespeare wasbaptised and buried before turning back andheading past the theatre and under CloptonBridge Itrsquos a bridge that William himself would have known built as it was around1480 e Avon is very pretty everywhere

you look are the incredible tame (and alwayshungry) swans and picturesque houseboatse banks are lined with weeping willows that just might have been the inspiration for poorOpheliarsquos watery end in Hamlet If you wouldrather take a slower self-driven trip there arerowing boats canoes and small speedboatsfor hire Beware though these are not aseasy to control as they look and you may wellspend a good proportion of your allottedtime relearning how to row and avoiding

Stratford-upon-Avon

The birth roomat ShakespearersquosBirthplace

Molly fromShakespeare Aloudin the Birthplacegarden

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SHAKESPEARE magazine 21

other hapless river tra ffic Boat trips typicallylast for around 40 minutes and are especiallypleasant in the late afternoon when the sun setsslowly behind the church steeple For addedluxury you can take a restaurant cruise where

afternoon tea or an evening meal are served onboard or as a quicker cheaper alternative youcould take the chain ferry across the Avoneferry dates from 1937 and is the last of its kindin the UK

Nash House and New Place

As well as the Henley Street property theShakespeare Birthplace Trust care for fourother locations in and around Stratford allassociated with Williamrsquos family Nash House

and New Place were adjoining propertieseformer was the home of Judith Shakespeareand her husband while the latter was thefamily home that William purchased in 1597at the time the second most expensive housein the town Sadly it was demolished by asubsequent owner but the Trust are currentlyundertaking a massive renovation of the siteis means that the properties will not be opento the public until 2016 to coincide with the400th anniversary of Shakespearersquos death

Hallrsquos Croft

A brief walk from New Place will take youto Hallrsquos Croft the home of SusannahShakespeare and her husband the physician John Hallis is an interesting property in its

own right and is partly set up to show how apractising physician would have worked at thetime A special mention too must goe Arterthe award winning independent craft shopadjoining the building and to the beautifulgarden in which open air performances ofShakespearersquos plays are sometimes performed

Stratford-upon-Avon

Holy TrinityChurch viewedfrom the Avon

Nash House andNew Place

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22 SHAKESPEARE magazine

Anne Hathawayrsquos Cottage A short distance from Stratford is Shottery where you can find the beautiful cottage

which was the home of the Hathaway familySet in yet another lovely garden this is thehouse in which Anne Hathaway grew upand was courted by the young William JohnShakespeare served with Anne Hathawayrsquosfather on the town council so their childrenprobably knew each other from a young agee family remained associated with thecottage for several centuries and have spunmany a yarn about the young lovers theveracity of which are highly questionable

However the stone floor of the kitchen isoriginal and we know that William must have walked those stones many many times

Mary Ardenrsquos Farme last of the Shakespeare properties is Mary Ardenrsquos Farm Shakespearersquos mother lived hereand itrsquos where she probably took the infant William when plague broke out in Stratfordshortly after his birth Open from March toNovember only the farm is run as a working

Tudor farm with costumed guides caring forthe buildings and the animals Itrsquos a great placefor a family day out with plenty to see and doand numerous activities runningere are

daily falconry shows archery animals to feedand games to play You can even treat yourselfto a genuine Tudor meal in the cafe ndash pottageand home-baked breads are a speciality

What if you donrsquot have a care town itself is fairly small and all themain attractions are within walking distanceHowever the easiest way to get around and toenable a visit to Anne Hathawayrsquos Cottage andMary Ardenrsquos farm is to the Hop On-Hop Off City Sightseeing busis will take you to allthe main town locations and also to Shotteryand Wilmcote A day ticket will give youunlimited access to the buses and allow you tovisit all of the Shakespeare properties e buscan be picked up by the statue of Touchstonethe jester at the top end of Henley Street

Walking Tours Another excellent way to see the main sites ofStratford and to learn some of the historicaltales of the town is to take a walking tour

Stratford-upon-Avon

Anne HathawayrsquosCottage

Mary Ardenrsquos Farm

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ere are several options depending on thetype of tour yoursquod likee town guides runhistorical tours of the town every day (yesevery day) of the year For those who like to be

a bit more daring there are evening ghost walksled by costumed guides who will tell you someof the spooky tales of Stratford Both of thesetours start from the Swan Water Fountain onthe riverside

Or if you like the idea of being guidedby Shakespeare himself on a Saturday (andMonday to Saturday through the summerholidays) there are town walks led by the manhimself (or someone who looks an awful lotlike him)ese run from Tudor World onSheep Street an interesting museum in thehouse that belonged to the man who wasallegedly the model for Sir John Falsta ff

Holy Trinity Church Another must-see is the townrsquos 13th centurychurch with its distinctive spire that dominatesthe view from the river Remember that if youhave a ticket to the Birthplace properties yourvisit to the grave is free e church is famousfor being where William Shakespeare wasbaptised on 26 April 1564 e old font that

was used for the baptism is displayed in thechancel along with copies of both the registerof baptism for April 1564 and the register ofburials for April 1616 where Shakespearersquosname can be clearly seen Also in the chancelin front of the altar are the Shakespeare familygraves Williamrsquos bears its infamous curse

ldquoGOOD FRIEND FOR JESUSSAKE FOREBEAR

TO DIGG THE DVST

ENCLOSED HEREBLESTE BE YE MAN YT SPARESTHESE STONES

AND CURSED BE HE YT MOVESMY BONESrdquo

On the wall above the grave is the effigy of

Shakespeare Itrsquos one of the few images which was produced within the lifetime of AnneShakespeare and probably one of the mostauthentic likenesses of her husband

The Guildhall and King EdwardrsquosSchoolDirectly opposite the site of New Place standthe Guildhall and the townrsquos old grammarschool Both of these places have links to theShakespeare family King Edwardrsquos Schoolis where the young William is believed tohave studied and itrsquos probably where hefirst encountered the classical texts which soinspired him As the son of a town councillorhe would have been entitled to a placee

old school is sometimes open to visitors at weekends or during the holidays but theschool has just won a lottery grant whichshould enable them to open it as a permanentattraction e Guildhall was sometimes hostto groups of travelling players and so it couldbe the site where young William first sawtheatrical performances It is widely believedthat John Shakespeare owing to his role astown bailiff was responsible for supervising the whitewashing of the medieval Doom Painting

Stratford-upon-Avon

SHAKESPEARE magazine 23

The GuildhallDoom Painting

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24 SHAKESPEARE magazine

Stratford-upon-Avon

is has been recovered and is now once againvisible above the chancel arch

The Royal Shakespeare CompanyTheatre and the riversidee riverside park is home to several interestingsights It is from here that you can get a view ofthe Clopton Bridge pick up a river cruise feedthe swans and admire the Gower Memoriale memorial was presented to the town in1888 and features a statue of Shakespeareseated upon a plinth overlooking statues offour of his best known charactersese areHamlet Prince Hal Sir John Falsta ff and Lady

Macbeth who represent Comedy HistoryPhilosophy and Tragedy Closer to the theatreis the beautiful Swan Water Fountain unveiledin 1996 If you see the water frothing fear notit seems to be a sport amongst local youngstersto fill the fountain with washing up liquid on aregular basis

e Royal Shakespeare Companyeatre was built in 1932 but has recently undergonea complete refurbishment in both the mainand the Swan theatres e building reopened

in 2010 with both theatres having beenconverted to boast thrust stages and curvedgalleries similar in shape to the originalElizabethan playhousese world renowned

Royal Shakespeare Company performshere throughout the year staging plays byShakespeare and his contemporaries as well asby newer authors ey also run an educationprogramme exhibitions family activitiesduring the school holidays and theatre toursTo see Stratford from an entirely diff erentangle take the lift up the 36 metre high towerfor spectacular views across the town

Where to eat and drinkStratford has an excellent range of eateriesto suit all tastes and budgets ere is pubgrub afternoon teas world cuisine finedining pizza pasta and fish and chips Manyrestaurants off er pre-theatre menus and ifyoursquove been on a town walk you may find thatyou can get discount vouchers for your foodere are many pubs in Stratford including theGarrick Inn the oldest pub in the town whereyou can taste the Shakesbeer specially brewedto celebrate Shakespearersquos 450th Birthday in2014 If you want to spot RSC cast members

relaxing after their showse Dirty Duck on Waterside is the place to drink

Where to stay Again Stratford-upon-Avon has a good varietyof hotels bed and breakfasts and holidayhomes All the main chains have hotels inthe town from budget brands to the luxurynamesere is an excellent choice of bedand breakfast establishments in and aroundthe town again these will suit all tastes and

budgets Airbnb also has an interesting rangeof rooms flats and houses to rent in StratfordHowever be sure to book early especially forthe prime summer months

The Shakespeare Birthplace Trustwwwshakespeareorguk

The GowerMemorial Will andPrince Hal

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M

any places around the worldhave been named afterStratford-upon-Avon thebirthplace and home of William

Shakespeare And many of those Stratfordsare home to theatre festivals of varying sizesStratford in the state of Victoria in Australiahas an annual Shakespeare festival still goingevery year while Stratford in Connecticut inthe USA had a major theatre from the mid1950s to the mid 1980s Stratford Ontarioin Canada however stands out among thesetowns and festivals not merely in scope but ininternational reputation and prestige

In 1950 Canada had no home-growntradition of classical theatre Certainly

Shakespeare was performed but there hadbeen a strong anti-theatrical movement inCanada throughout the 19th century whoseeffects still lingered throughout the first half ofthe 20th As a cultural icon Shakespeare wasedifying to be sure but certainly not to beperformed The Stratford Festival changed allof that for Canada

In the late 1940s the local newspapers andgovernment of the town conceived of the ideaof revitalising Stratfordrsquos sagging economy by

capitalising on the name of the town and its

long association with the Bard They bandedtogether and under the leadership of TomPatterson they brought over Tyrone Guthrieand Alec Guinness for the first season in1953 Guthrie had famously directed Gielgud

inHamlet

at Elsinore Castle in Denmarkand had been the manager of the Old Vic inLondon He wanted to create an acting spacethat echoed the original Globe theatre whereactors were surrounded by the audience incontrast to the proscenium arch theatres thatdominated the London and New York scenes

From the first performance which tookplace inside a giant circus-style tent on thebanks of the Avon River the festival workedto create a new aesthetic of Shakespeareanperformance The thrust stage of the FestivalTheatre designed by Tanya Moiseiwitschhas been recognised as one of the greatinnovations in stage design of the 20th centuryGenerations of actors have had to learn howto address an audience on three sides of themsometimes only an armrsquos length away

The festival has been central to the careersof Canadian actors such as ChristopherPlummer Martha Henry and even WilliamShatner Actors from the US and UK havesought to play the festival as well including

Peter Ustinov Christopher Walken and JessicaTandy Indeed these international stars notonly lend credibility but have indelibly markedthe festival For instance Maggie Smithrsquosperformance as Rosalind in As You Like It inthe 1977 and 1978 seasons is legendary in thecompany and the town

Today the festival has expanded to includemultiple performance spaces a theatre schooluniversity accredited courses and the largesttheatrical costume shop in North America

It has started countless careers inspiredcompanies such as Torontorsquos SoulpepperTheatre and helped shape the Canadiantheatre landscape for over 50 years

Stratford Festival ndash Ontario Canada

wwwstratfordfestivalca

MEANWHILE

IN CANADATherersquos more than just one Stratford you knowAnd the one in Ontario Canada has a world-renownedShakespeare Festival gives us a tour

Stratford Ontario

SHAKESPEARE magazine 25

ldquoFrom the fi rst performancethe Festival worked tocreate a new aesthetic ofShakespearean performancerdquo

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Planning to performa short selection

from Shakespeare

The 30-Minute Shakespeare

Anthology contains 18 abridged

scenes including monologues from

18 of Shakespearersquos best-known plays

Every scene features interpretive stage

directions and detailed performance

and monologue notes all ldquoroad testedrdquo

at the Folger Shakespeare Libraryrsquos

annual Student Shakespeare Festival

THE 30-MINUTE SHAKESPEARE is an acclaimed series of abridgments that tell the story of each play while keeping the beauty ofShakespearersquos language intacte scenes and monologues in this anthology have been selected with both teachers and students inmind providing a complete toolkit for an unforgettable performance audition or competition

NICK NEWLIN has performed a comedy and variety act for international audiences for more than 30 years Since 1996 he hasconducted an annual teaching artist residency with the Folger Shakespeare Library in Washington DC

The 30-Minute Shakespeare series is available in print and ebook format at retailersand as downloadable PDFs from 30MinuteShakespearecom

The 30-Minute Shakespeare Anthology

includes one scene with monologue

from each of these plays

ldquoLays the groundwork for a truly fun and sometimes magical

experience guided by a sagacious knowledgeable and intuitive

educator Newlin is a staunch advocate for students learning

Shakespeare through performancerdquo mdashLibrary Journal

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Roaslind Lyons

28 SHAKESPEARE magazine

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For UK artist Rosalind Lyons the Bard is a

constant presence in her creative life She tells

us how Shakespeare inspired the haunting and

dreamlike works that adorn these pages

Words and paintings by Rosalind Lyons

Rosalind Lyons

SHAKESPEARE magazine 29

Left TheRoaring Boys

PAINTINGSHAKESPEARE

S hakespeare has long been at the heart ofmy work sometimes directly and obviouslyin the subjects and often in the titlesBut always Shakespearersquos words charactersand stories are there in my head when Iam painting ndash a perpetual conscious andunconscious presence

My style echoes that of the Renaissancepainters and Elizabethan portraits andthese influences combined with a life-long love of Shakespeare made my firstvisit to Shakespearersquos Globe pivotal Iexperienced a powerful sense of connectionand recognition Here suddenly ideasand themes with which I had been so longpreoccupied were brought to life

I subsequently gained access to theGlobe to draw and later spent some time

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as Artist in Residence thereat experienceprompted more in-depth exploration notonly of Shakespeare and painting but of therelationship between painting and theatreere are of course the strong visualconnections ndash both are spaces for spectacleand illusion But also compelling ideas oftransformation imagination storytelling andidentity And overall the theme of ambiguitye blurring of boundaries between realityand fiction male and female light andshadow past and present I am fascinated byhow we respond to history how we re-presentand re-imagine the past And the figures inmy paintings are imagined as belonging toboth now and then ndash flitting back and forthacross the threshold between past and presentbetween Shakespearersquos time and our own

modern worldI have painted some specific characters

from Shakespeare but many subjects ofmy paintings are anonymouse figuresare unknown their place purpose role is amysteryis anonymity is unsettlingereare clues in the setting in the costumes ndash orperhaps I should just say in the clothes theyare wearing ndash but the context is not obviousI am fascinated by the dramatic convention ofcross-dressing ndash and particularly the inherent

confusion as with Rosalind ( As You Like It )and Viola (Twelfth Night ) in the idea of aboy playing a girl playing a boy Many of thecharacters I invent are androgynous theirgender and age uncertainis ambiguityof identity interests me in the context ofvisual illusion and theatrical transformationthe idea of inbetween-ness and somethingunresolved

Like theatre my paintings are concerned with inventing characters and the creation

Right No MoreYielding But A

Dream

Roaslind Lyons

30 SHAKESPEARE magazine

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of an imaginary world and I am particularlyattracted to the fools fairies and witchesIn A Midsummer Nightrsquos Dream the fairiesrsquoactions may seem malevolent or benign or just mischievous but there is definitely a dark

side an underlying sense of threate Fool too is intriguing Shakespearersquosfools frequently describe themselvesor are referred to as a nobody but areunquestionably much moree fool is anoutsider concerned with but at the same timeseparate from the story He ndash or sometimesshe ndash doesnrsquot quite belong anywhere butseems to exist on the boundary between thefamiliar and the uncanny

I am attracted to the strange to mysteryand shadows and try to express through myimages a strong feeling that it could be thator maybe something else As Orsino says atthe conclusion of Twelfth Night ldquoA naturalperspective that is and is notrdquo While makinga painting and even when it is finished Idonrsquot know really who my characters are ndashthey remain elusive But I like not knowingand ultimately meanings always change anddepend on individual perceptions

My experience at the Globe led to aparticular fascination with the ambiguous and

protean quality of the theatrical performerhow their identity transforms and fluctuatesI was attracted by this when watching

Rosalind Lyons

SHAKESPEARE magazine 31

Above A MidwinterNightrsquos Dream

Right Three Fools

Far right FollowingDarkness

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rehearsals observing actors shift between selfand impersonation between diff erent realitiesand identities When they are not acting theyndash metaphorically and often literally ndash melt

into the shadows I am interested too in thephysical and symbolic threshold between lsquoonrsquoand lsquooff rsquo-stage the transformation inherentin an actor moving from the wings onto thestage assuming another self and anotheridentity Particularly evocative is the fact thatactors were colloquially known as shadowsin the Elizabethan playhouses ndash suggestingsomething unknowable and insubstantialIn the Prologue to Henry V Shakespeare hasthe Chorus describe the players as lsquociphersrsquoimplying deception and secrecy

Artists in the past who have tackledShakespeare have generally produced imagesthat directly illustrate the text or representfamous actors or scenes from a particularperformance Today as well as on the stageShakespearersquos plays are frequently re-imaginedin very successful film and TV adaptationsbut I have struggled to find more than ahandful of contemporary fine artists whohave engaged with Shakespeare on any levelPerhaps Shakespeare as a subject is seen

by some as too traditional too lsquopopularrsquoor simply just too lsquooldrsquo But in the theatreand in literature there is an ever-increasingenthusiasm for innovative interpretationsof the plays and for me Shakespeare is aconstant inspiration

e Prologue of Henry V also urges theaudience to ldquoPiece out our imperfections withyour thoughtsrdquo to liberate the imaginationand create another kind of reality to shapeour own fantasies within the ldquowooden Ordquo of

the theatre In my paintings I endeavour todo the same

Explore the work of Rosalind Lyons atwwwrosalindlyonscom

Above These Two CreaturesBelow Therersquos Magic In Thy Majesty

Roaslind Lyons

32 SHAKESPEARE magazine

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$amp( ) +-01

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Aidan OrsquoReilly

34 SHAKESPEARE magazine

Looking forRichard AidanOrsquoReilly is playingShakespearersquosbaddest monarch

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Aidan OrsquoReilly

SHAKESPEARE magazine 35

You are legally blind having been

diagnosed with retinoblastoma as an

infant How did this impact on your

acting aspirations and early career

ldquoMy parents did a good job raising me Inever grew up thinking of it as a handicap orthinking it could hold me back from what I wanted to do I couldnrsquot play sports at all soI think my parents were grateful that I hadsomething that I was passionate about from avery young age

ldquoI went to a public elementary school with a program designed for the blind so itfelt very natural for me to be the way that I was And acting has always been part of thatrdquo

You went to RADA in London Was

there a reason why you wanted to

train in England and not in the US

ldquoItrsquos always been an ambition of mine to

travel as far and wide as possible Also myhero growing up was Peter OrsquoToole ndash Iread his autobiography in high school andlearned he had gone to RADA and decided I wanted to go there too So I auditioned therenot knowing that RADA is arguably thebest drama school in the English-speaking world Consequently I was quite relaxed atthe audition which is probably why I gotin My ignorance can sometimes serve me well Going to RADA was a life-changing

Aidan OrsquoReilly is an actor with an

inspiring story Legally blind since he

was six months old he forged a passionfor drama at an early age Aidan went

on to gain a BA with honours from

Londonrsquos Royal Academy of Dramatic

Art before touring for three years with

the American Shakespeare Center

In 2012 Aidan was diagnosed with

sarcoma a rare cancer He bounced

back in 2014 after intensive treatment

and is now cancer-free We spoke to

Aidan as he prepared to play the title

role in Richard III for Californiarsquos Marin

Shakespeare Company We asked himto share his story and to give us his

take on one of Shakespearersquos most

fascinating characters

Interview by Jen Richardson

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Aidan OrsquoReilly

36 SHAKESPEARE magazine

experience I was lucky enough to havecontact with brilliant professors and Irsquom stillin awe of the students I went to school withI wouldnrsquot trade that experience for anythingrdquo After graduating from RADA you

went on the road with the American

Shakespeare Center Tell us a bit

about that

ldquoThat was one of the happiest times of mylife In many ways I got spoiled I was a working actor 11 months out of the yeartouring nationally seeing parts of the USI had never been to before doing plays Iloved and working with directors who werevehemently faithful and respectful to the text When I wasnrsquot on the road I was in residenceat the Blackfriars Playhouse in StauntonVirginia with many extraordinary actorsI was very lucky to be thererdquo

Three years ago you were diagnosed

with sarcoma How did you

overcome this enormous challenge

and return to the stage in 2014

ldquoThe only reason Irsquom still alive is because ofmy mother Lily and my wife Jocelynn AlsoI was fortunate that we caught it before it hadspread and it was on my leg and away fromany major organs

ldquoI am very grateful for my team of doctorsat UCSF who did an incredible job in mytreatment and follow-up care Irsquom glad to beback to workrdquo Yoursquore now due to play Richard III

with Marin Shakespeare Company

Howrsquos it going so far

ldquoAt this point Irsquom in the paperwork stage

of things A lot of reading the HenryVI s biographies of Richard as well asperformance history of the play itself Irsquomdoing a fair amount of limping around myapartment as well I canrsquot wait to get intorehearsals next weekrdquo Tell us about Marin Shakespeare

Company and what appealed to you

about working with them

ldquoRobert and Lesley [Currier MSCrsquos Artistic

Director and Managing Director] arefascinating people Their intelligence andhumour is contagious Without questionthere is a lot to be learned from themrdquo Richard IIIrsquos remains were discovered

in 2012 and reburied this year Is all

the new information about Richard

influencing your portrayal

ldquoYes and no My job isnrsquot to play the historicalRichard but the Richard that Shakespeare has

Aidan believesthat Richard IIIrsquosobsession withcontrol is whatcauses his downfall

ldquoPeter OrsquoToole wasmy hero He went to

RADA so I wanted to go there toordquo

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Crowning gloryAidan with MarinShakespearersquosRobert Currier

created Itrsquos helpful to know the facts of thesituation in order to gain insight into whathas been changed in Shakespearersquos versionof events

ldquoI met with a friend of mine who is a

retired surgeon who walked me through themedical information that has come to lighton Richardrsquos body and I will certainly usethat to inform my physical choicesrdquo Unlike many actors yoursquore the right

age to play the historical Richard III

Do you feel Richardrsquos relative youth

has been overlooked

ldquoI do Richard is a young man who believeshe is hardened by the experiences he andhis family endured during the War of theRoses and believes himself to be beyondhuman emotions and the lsquorestrictionsrsquo of aconscience He isnrsquot He pays the bill for thehorrible things he does That lack of self-knowledge is not exclusive to youth but I feelit makes him more sympathetic and relatableto an audiencerdquo Some people think Richard III shows

Shakespeare delivering a highly

effective piece of Tudor propaganda

Where do you stand on thatldquoI think Shakespeare has a soft spot foroutsiders and underdogs Although his playssometimes work within the confines of thebiases of Elizabethan society he canrsquot help butmake his lsquovillainsrsquo fascinating human beings

For as horrible as Richard is itrsquos amazing tosee how audiences relate and respond to himrdquo Which other important themes do

you feel Shakespeare deals with in

the playldquoThe history plays are full of extraordinarypeople who waste their lives and intelligence who sacrifice their humanity in pursuit of thecrown Itrsquos still happening today What is theattraction of power Richard never pauses tothink of why he wants the crown or if hersquodbe any good as king Turns out hersquos not butitrsquos this bizarre obsession with control thatpropels him to kill everyone off thatrsquos in his way Itrsquos also fascinating that the one characterthat is consistently kind to Richard is hisfather York

ldquoI think an argument can be made thatRichard in his warped way is trying to liveup to the image he has of his father Ofcourse York is dead and gone by the timeRichard III begins but you can glean a lotabout Richardrsquos inner workings in the way hespeaks about his father Of course itrsquos foolishto try to answer questions that Shakespearedoesnrsquot and Irsquom not trying to say this solvesa mystery but I think itrsquos interesting Itrsquos only

an element itrsquos not the answerrdquo Richard III is listed as a historical

play in the First Folio but in the

quarto edition it is termed a tragedy

Which category would you put the

play in and why

ldquoI think of the history plays from Richard II to Richard III as one vast play an epic thatencompasses all the categories I think if youlook at Richardrsquos progression through those

plays you see a great mind warped by the War of the Roses and that certainly adds tothe tragic element I think of Richard III asthe final chapter of a great epicrdquo

Aidan OrsquoReilly stars in Marin ShakespeareCompanyrsquos Richard III from 4-27 September

Aidan OrsquoReilly

SHAKESPEARE magazine 37

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Scotland Shakes

SHAKESPEARE magazine 39

Bonnie Prince

Brian Fergusonas Hamlet in theCitizens Theatre

production Photoby Tim Morozzo

Billy William Shakespeare is undoubtedly Englandrsquos

Bard But how is he viewed north of the border

Our Caledonian correspondent surveys the state

of Shakespeare in Scotland and meets esteemed

outdoor theatre company Bard in the Botanics

Words Paul F Cockburn

T owards the end of May thisyear a BBC Scotland afternoon

news bulletin surprisinglyturned its attention to aforthcoming production of

ldquoone of William Shakespearersquos best lovedplaysrdquo ndash A Midsummer Nightrsquos DreamHowever this particular production wasnrsquotconsidered newsworthy because it came froman amateur group based in Dumfries andGalloway Not even that the CrossmichaelDrama Club were one of just seven amateurScottish groups taking part in the Royal

Shakespeare Companyrsquos Open Stages project which aims to help amateur companies

extend their repertoiresNo the lsquohookrsquo was how this newproduction was Shakespeare ldquobut no asyou micht ken itrdquo Because it had beenreimagined in Scots as A MidsimmerNichtrsquos Dreme

As it happens writer John Burns saysthat his principle reason for translating AMidsimmer Nichtrsquos Dreme was simply theintuition that it being in Scots would workto the benefit of the production ldquoItrsquos not

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Scotland Shakes

40 SHAKESPEARE magazine

so much that 16th century English canrsquot docertain things more that using Scots brings itcloser to a Scottish audience and to audiences who might think Shakespeare too fancyrdquo hesays ldquoI feel too that Scots can catch the sheerphysical power of Shakespearersquos language He writes lines you really feel physically when

you say them out loud My intention was touse Scots to produce a text that was actableand which would be accessible and enjoyablefor the audience and the Scots was a majorpart of thatrdquo

Arguably translating Shakespeare intoScots ndash viewed by many as a distinct languagefrom English ndash is just one way of finding thecontinued relevancies of Shakespearersquos writing with the here and now Certainly John Burns was keen to see if Scots ldquocould match the way

Shakespeare switches tonehellip from broad attimes bawdy humour to moments that aremore serious or even sinisterrdquo

Yet there is a wider perspective whether wersquore discussing translation into Scots orsaying Shakespearersquos words with a Scottishaccent Willy Maley and Andrew Murphyin their introduction to Shakespeare andScotland (published by Manchester UniversityPress in 2004) go as far as describing thetranslation of Shakespearersquos Macbeth into

Scots as ldquoa patriotic actrdquo not least becauseof ldquothe political commitment implicit intranslating from English to Scots reversing

the dominant dubbing practice infi

lmsrdquoGlasgow-based novelist and playwright Alan Bissett ndash who actively campaigned fora Yes vote during last yearrsquos IndependenceReferendum ndash has since written about howsince the 1970s Scottish theatre had ldquoadeep engagement with the shifting beastof Scottish politicsrdquo Although Bissett wasfocusing primarily on original works byScottish playwrights and directors itrsquos worthpointing out that Shakespeare ndash despite therebeing absolutely no evidence to prove he evertravelled north of Carlisle ndash has played hisown part in this

As Maley and Murphy point outldquoScotlandhellip never had precisely the samerelationship with the Bard as England hasbut has experienced a fraught process ofappropriation incorporation and resistancerdquoIn part this is because Shakespeare ndash in hislatter career ndash was among the first lsquoBritishrsquo writers Many of his later plays ndash Cymbeline King Lear even Hamlet ndash were produced

A tartan-cladAntipholus andDromio in Bard inthe Botanicsrsquo TheComedy of Errors

Brian FergusonrsquosHamlet CitizensTheatre productionPhoto by TimMorozzo

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under the patronage of Scotlandrsquos King JamesVI (aka James I of England) Each in theirown way can be said to touch on ldquothe matterof Britainrdquo the complex relationship between

the constituent elements of Jamesrsquos newlsquounitedrsquo kingdom which the Stuart monarch was determined to see joined into oneat never quite happened of course

Even after the 1707 Act of UnionScotland retained its own legal educationaland religious systems along with anaccompanying sense of Scottish identity ndash which survived even the height of the Britishempire Yet from the 1970s on there havebeen notable changes in how Shakespeareis treated by Scotlandrsquos producing theatrecompanies Several years ago GlasgowrsquosCitizenseatre delivered a powerful Romeoand Juliet in part because of their decision toset the action in a present-day sectarian Westof Scotland ndash with accents to match

ldquoEnglish-accented Shakespeare carriesa specific resonance in Scotland one thatdirectors usually choose to avoidrdquo pointsout Mark Fisher a freelance journalist criticand author of the forthcoming book How toWrite Abouteatre

ldquoIrsquom not sure exactly when attitudesstarted to change but Irsquod say the argumentin favour of Scottish-accented productionshad been pretty much won by the 1990sBy that time companies such as Raindogand directors such as Hamish Glen hadbeen making a point of casting very Scottishproductions of Shakespearerdquo

One example of how things hadprogressed even by 1992 was the late KennyIrelandrsquos production of A Midsummer

Nightrsquos Dream his first as Artistic Directorat Edinburghrsquos Royal Lyceum ldquoHe castthe mechanicals with Scottish accents andeveryone else with English accentsrdquo MarkFisher explains ldquois I said in my review wasa fundamental error ndash or some such phrasee message it sent out was that people withScottish accents were foolish figures of fun whereas people with English accents wereserious figures of respect

ldquoIreland reacted furiously to my review

and made the case that he had based thecasting of the mechanicals around (the actor) Andy Gray who has a Scottish accent Inother words the meaning I inferred hadnot been deliberate I think itrsquos true to sayhowever that Ireland never cast a Shakespearelike that againrdquo

Gordon Barr is Artistic Director of

Glasgow-based Bard in the BotanicsScotlandrsquos only professional Shakespearecompany (see following pages)

ldquoWersquove never gone out of our way tomake Scottish versions of these texts norhave we gone out of our way to have classicaltraditional voicesrdquo he says ldquoMost of our coreactors have made their careers up here so wethink of them as Scottish actors

ldquoat is important to us to not overlylook outwards for the acting company As

much as possible we work with people who are based in Scotland Wersquore regularlyproducing Shakespeare here and we want tobe a part of the training to ensure that there isa range of strong classical actors hererdquo

Citizens Theatrewwwcitzcouk

Owen Whitehawas the Fool andDavid Hayman asLear in CitizensTheatrersquos King Lear Photo by TimMorozzo

Scotland Shakes

SHAKESPEARE magazine 41

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Bard in theBotanicsrsquo As You Like

It takes Rosalind andOrlando into theopen air

ldquoTouring is something that we have wanted to do foryears but was somethingthat we could not afford

to do without fundingrdquo says Gordon Barr Artistic Director of Scotlandrsquos only professionaloutdoor Shakespeare festival Bard in theBotanics If therersquos any irony attached tothe companyrsquos first major tour of Scotland which took place in early 2015 itrsquos that theperformances of their acclaimed Romeo and Juliet ndash featuring a cast of five ndash were playedexclusively indoors

ldquoNobody is touring classical theatre in

Scotland at the minute so itrsquos importantto usrdquo Barr adds ldquoOur work is so muchabout accessibility One of the joys of beingoutdoors is that people come to see the work who wouldnrsquot buy a ticket for a theatre Ifyou can bring a picnic sit out on the grass while watching the show it feels easier moreaccessible But people canrsquot come from Thursoto Glasgow for a night just to see a productionof Shakespeare They should be able to see itin Thurso So that is kind of where the urge totour came fromrdquo

Bard in the Botanics has presented outdoorShakespeare within the grounds of GlasgowrsquosBotanic Gardens since 2003 This yearrsquoslsquoUnlikely Wondersrsquo season presented newproductions of Loversquos Labourrsquos Lost The Merchant of Venice Richard II and A Midsummer Nightrsquos Dream in lsquoreprsquo between24 June and 1 August

The companyrsquos founder Scott PalmerBarr explains had done a lot of his training atthe Oregon Shakespeare Festival one of the

biggest in North America ldquoWith the kindof drive and enthusiasm that only Americanshave he managed to convince the entire cityof Glasgow that outdoor Shakespeare would work and that the weather wasnrsquot going to be

a problemrdquoTwo years later Palmer moved on and Barr

ndash originally involved as a director ndash succeededhim as Artistic Director ldquoIf anyone then hadsaid that I would end up spending 12 yearsrunning an outdoor Shakespeare festival I wouldnrsquot have believed themrdquo he says in hisoffice hidden behind some of the Botanicsrsquogardening sheds ldquoI very quickly fell in love with it once I started working here Despiteall the trials and tribulations that outdoortheatre in Scotland brings with it therersquos just

something magical and special about it Itrsquos a very close-knit company and thatrsquos sort of keptus all here as long as we have beenrdquo

While the annual summer season ofShakespeare plays in the Botanics will remainat the centre of what the company does ndashldquoOtherwise Bard in the Botanics becomesa rather strange namerdquo ndash Barr is very much

Outof theGarden

This year has seen Glasgowrsquos Bard in the Botanicsdo something completely unexpected They wentout on a tour of ndash whisper it ndash indoor venueshellip

Scotland Shakes

42 SHAKESPEARE magazine

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Scotland Shakes

SHAKESPEARE magazine 43

focused on building on the touring side ldquoBecause it was our first ever tour we

did end up taking Romeo and Juliet to theestablished Scottish touring circuitrdquo he addsldquoIt takes a while to build up relationships with the smaller venues thatrsquos going to bean ongoing process for us Even so we weretaking Romeo and Juliet to places like Mulland Stranraer ndash communities and venues thathavenrsquot had a lot of classical theatre comingthrough themrdquo

The choice of play was deliberate too ldquoIt was a production that was ready to go whichhad received five star reviews and sold out itsextended run in the Botanics in 2012 So weknew that the work was good but therersquos nodoubt that for a first tour we wanted to makeit easier for the venues to sell it Most venuesknow they can find an audience for Romeo and Juliet rdquo

In time he hopes that audiences aroundthe rest of Scotland will come to trust the Bardin the Botanics name sufficiently to take on theless familiar plays

ldquoYou just donrsquot know how quickly acommunity is going to turn out for Henry IV yetrdquo he says ldquoHopefully three or four toursdown the line theyrsquore going to turn out forBard in the Botanics ndash and if it happens to be

Henry IV well thatrsquos greatrdquoGiven their reimagining of A MidsummerNightrsquos Dream as a 1920s burlesque musicalis there a particular Bard in the Botanicsapproach to Shakespeare

ldquoOur kind of unofficial motto is lsquoBe BoldBe Braversquordquo Barr says ldquoIf wersquore continuingto stage these plays around 400 years afterShakespearersquos death I think therersquos an urgencyto ask lsquoWhyrsquo It is important to questionlsquoWhat is the story that we want to tellrsquo I wantto see how these plays intersect with historyand todayrsquos society not to present museumpieces

ldquoItrsquos always with an eye to try to releasesomething thatrsquos within the textrdquo Barrinsists ldquoWersquore not remotely interested ininnovation for innovationrsquos sake The playsare masterpieces thatrsquos essentially why wersquorestill doing them 400 years later But to revealsomething thatrsquos unexpected or new thatrsquosimportant to usrdquo

Bard in the Botanics

wwwbardinthebotanicscouk

Rosalind and Audreyin the forest Bardin the Botanicsrsquo As You Like It

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Shakespeare at the Tobacco Factory stf 2016 Seasonco-production with Tobacco Factory Theatres

HAMLETBy William Shakespeare

Directed by Andrew Hilton

Main run Thu 11 February ndash Sat 26 March 2016

In repertoire with Allrsquos Well That Ends WellMon 25 ndash Wed 27 April Sat 30 April 2016

The most famous play in world drama Hamlet

turns a new face to every decade So many

elements - political madness sex murder ndash all

brought together in a drama that is both a thriller

and the profoundest meditation on our human

condition

ldquoThrilling workrdquo The Guardian on Romeo amp Juliet

ldquoBullseyerdquo WhatsOnStage on Romeo amp Juliet

Shakespeare at the Tobacco Factory Friends Priority Booking opens Wed 23 September 10am

wwwstf-theatreorguk

Tobacco Factory Theatres Members Priority Booking opens Wed 16 September 10am

wwwtobaccofactorytheatrescom

Public Booking opens Wed 30 September 10am

Tobacco Factory Box Office 0117 902 0344

ALLrsquoS WELL THAT ENDS WELLBy William Shakespeare

Directed by Andrew Hilton

Main run Thu 31 March ndash Sat 23 April 2016

In repertoire with Hamlet

Thu 28 ndash Fri 29 April Sat 30 April

A young woman using skills bequeathed herby her father saves the French Kingrsquos life and

is rewarded with the right to choose her own

husband But what if the chosen one wonrsquot play

the game How can she get him into bed How

can she make him love her

ldquo There is something approaching real

magic hererdquo The Arts Desk on The School for Scandal

P h o t o s M

a r k D o u e t

Dorothea MyerBennett in Richard III

Benjamin Whitrowand Julia Hills in The

School For Scandal

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Having conquered

Hollywood and vanquished

the global entertainment

industry video games now

on our culture So where

does the Bard stand in all of

this We sent a Shakespeare

scholar to investigatehellip

Words Andrew Bretz

Shakespeare video games

46 SHAKESPEARE magazine

T eGamersquos A oot Silent Hill is one

big-name gamewhich includesShakespearereferences

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Shakespeare video games

SHAKESPEARE magazine 47

German cardboard Macbeth datingfrom the early1800s

Hamlet reimaginedRyan Northrsquos To Be

Or Not To Be

W

hen you walk intothe wood panelled Victorian Gothicismof the Gail Kern Paster

Reading Room at theFolger Shakespeare Library in WashingtonDC video games are probably the lastthing on your mind Buried deep withinthe archives however are a set of fragilecardboard figures printed in Germany in theearly 1800s representing each of the maincharacters of Macbeth

Nineteenth century German children would play with these figures on smallcardboard stages no bigger than a dollhouseey could replicate the story as it was toldin Shakespeare or use their imagination tochange the ending letting Lady Macbethsurvive and bringing Duncan back from thedead if they so chosee limits of the game were the limits of their imagination

Today the lsquogamificationrsquo of Shakespeareis a big business from Ryan Northrsquos choose-your-own-adventure edition of Hamlet To Be Or Not To Be to IDW Gamesrsquosupcoming Kill Shakespeare board gamebased on the comic of the same name

Gamifying Shakespeare is filtering intoschools libraries and the theatrical worldas well with the University of California atDavis the Stratford Festival in Ontario theGlobeeatre in London and the LondonMetropolitan Archives all experimenting with video game elements in exhibits productionsand research

Why video games In a sense this is thelogical next step in the media development ofShakespeare Hersquos everywhere in other media

books movies merchandise But videogamese answer for that depends on whoyou ask

StorytellingOccasionally individuals or publishinghouses develop video games that try to tellthe story of say Hamlet yet this is relativelyrare One example would be Elsinore a time-looping narrative adventure game set in the world of the play Players play the game as

Ophelia who wakes up knowing that in fourdays the entire court will be dead and shemust do something to stop ite problemis that she is stuck in a time loop reliving thesame four days over and over againat said Shakespearersquos presence in the

video game industry tends to be focused oncitation rather than adaptation of the playsat is video games for Xbox Playstationand other popular gaming systems often

just cite Shakespearersquos plays as a part of acommon cultural heritageese games donrsquotrestage say Hamlet but they quote the playIn these cases Shakespeare is used to establisha point of identification for the audience His writing tells the audience something aboutthe character or the situation

Given that audiences are supposedto be able to identify the quotations asShakespearean it is unsurprising that Hamlet is the most popular text for game designers to

cite Ine Elder Scrolls Online for instancea merchant NPC (non-player character)quotes Polonius when players interact sayingldquoNeither a borrower nor a lender berdquoe words establish the NPCrsquos role as a merchant while fitting the medieval world of thegame In the game LA Noire upon pickingup a fake shrunken head at a crime scene adetective leaps into high melodrama withldquoAlas poor Yorick I knew him Horatiordquoequotation and the clever voice acting establish

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Shakespeare video games

48 SHAKESPEARE magazine

the characterrsquos strait-laced yet macabre senseof humour

Sometimes citing Shakespeare is a partof a critique of a larger theme In the game Mass E ff ect the Elcor are a race of elephantinealiens who preface all statements with adescription of the emotion they are feelingand who speak in a slow monotonous drone As players interact with the expansive worldthey can discover a number of advertisementsfor an all-Elcor Hamlet e idea of theElcor actor ndash the ultimate in a flat woodenperformer ndash having to preface ldquoTo be or not

to berdquo with ldquomorose ruminationrdquo goes beyondthe simple humour of a bad Shakespeareperformance It subtly asks what it is aboutacting (and especially voice acting) that isvaluable

Shakespeare can appear in video gamesnot merely as a marker or contextualisationtool but as a part of a puzzle For example inthe game Silent Hill 3 players must arrange aset of Shakespeare anthologies on a bookshelfin an abandoned shopping mall in order to

proceed in the game At the hardest levelthe puzzle clue takes the form of a poemthat references all the major tragedies Romeoand Juliet King Lear Macbeth Othello andof course Hamlet e bloody nature of thetragedies fits with the bloody nature of theSilent Hill series of games which fall into thesurvival horror genre

Popular video games have also servedas the inspiration for games that engage with Shakespeare in a more direct way For

example Daniel Fischlin at the Universityof Guelph in Ontario Canada led a teamthat created a Flash game called rsquoSpeare Itrsquos

a scrolling arcade-style game suggesting thersquo80s hit Galaga which sees players identifyingand navigating through a series of enemies who turn into words upon being destroyede player progresses through the levelsby collecting the correct words to createShakespearean quotes learning Shakespeareantrivia along the way

ImmersionOne of the most exciting aspects of videogames is the ability to immerse the player inthe world of the game in a way that othermedia simply cannot do Being able to walkaround Prosperorsquos cell Julietrsquos balcony orto stand before the ghost of Hamletrsquos fatheras he cries out ldquoList list O listrdquo ndash theseexperiences are made possible through videogame technology

Students of Scenic Arts at the Universityof Hildesheim in Germany created Projekt ARIEL or SturmMOD in 2008 using a lsquomodrsquo(or modification) to the engine that runs

the game Far Cry 1 e performance artproject allowed users to experience Prosperorsquosisland interacting with certain parts andexploring others Players could walk aroundan imaginative rendition of Prosperorsquos cell and witness or interact with elements of the playincluding diff erent characters like CalibanProspero and Miranda

Four days to savethe Danish court

Elsinore

Another Hamlet reference this timein LA Noire

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Shakespeare video games

SHAKESPEARE magazine 49

Gina Bloom at the University of Californiaat Davis is presently spearheading a projectthat will be demonstrated in the lobby of theStratford Festival theatre in Ontario Canadathis summere project Play the Knave AShakespeare Performance Videogame lets usersdesign a virtual performance space and thenperform a scene from a Shakespeare playinhabiting this constructed space with anavatar As a Davis insider explains ldquoWe use akinect motion capture camera to capture theuserrsquos skeletal data so that players use theirentire bodies to control their avatarrsquos gesturesonscreen all the while reciting the lines from

Shakespearersquos scenerdquo is literally immersesthe players in the scene

Shakespearersquos Globe eatre in Londontook another tactic regarding immersionin the production of the game HemmingsrsquoPlay Company Hosted on the Playgroundportion of the Globersquos website and thusaimed at an audience of children the gamehas players taking on the role of Hemmingsan Elizabethan bear who leads a troupe oftheatrical animals such as Kit the Cat Dekker

the Dog and Slye the Foxe turn-based game leads players through

the vagaries of Elizabethan theatre practicefrom patronage to lost props and the plagueBy the end of the game players must earnenough money to rebuild the Globe after itburns down during a performance of HenryVIII

Also from Shakespearersquos Globe are twoinnovative video experiences created forchildren aged five to 11 e first Exploring

Shakespeare features two boys on a tour ofthe Globe theatre who sneak off to explorebackstage e video illustrates four plays

using short animations that are keyedto things the boys find backstage etechnology combines live action film andanimation to create an interactive touchablegame Filled with mini-games quizzes andinteresting facts about Shakespeare the gameallows players to click through the narrativeor to stop and learn more as they go along

e second video called Staging It usesthe same technology as the first film but thistime is for the 11-16 age group In this gamee Globe has filmed two actors performingfamous duologues from A MidsummerNightrsquos Dream and Macbeth on the Globestage Rather than shoot it once the actorshave performed their lines in diff erent ways(happy flirtatious defensive and so on)creating several diff erent clips per linePlayers can watch each of the clips and addtheir choice to a dynamic storyboard tobuild up their final scene Impressively theplatform allows for up to 1000000 diff erentcombinations of clips

Apps and Mini-GamesItrsquos when you start to look outside of therealm of popular video game platformslike Xbox or Playstation that Shakespeare

Silent Hill 3 Brush upyour Shakespeare ifyou want to survive

Hemmingsrsquo PlayCompany fromShakespearersquosGlobe

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Shakespeare video games

50 SHAKESPEARE magazine

really starts to pop up wherever you looke ubiquity of Shakespeare is especiallynoticeable when you start to look at apps andmini-games designed for phones and tablets

In 2012 Big Fish Games released aniPhone and iPad game called Hamlet that featured all the main characters ofShakespearersquos play but transposed them intoa save-the-princess narrative puzzle game A time traveller lands in Denmark andaccidentally kills Hamlet and so players mustcomplete his journey for him saving Opheliaand killing Claudiuse Shakespeareancontent is minimal and heavily adapted andyet it fits with the puzzle format in whichShakespeare tends to be found in videogamese Chronicles of Shakespeare Romeo amp

Juliet ande Chronicles of Shakespeare A Midsummer Nightrsquos Dream are lusciously-illustrated puzzle games for the PC In themplayers act as one of the characters from theplays gathering items and clues through aShakespearean environment

Among the literally thousands of appsrelated to Shakespeare that can be found forthe iPad or Android tablet are

e Shakespearean Insult Creator which generates invectives drawn from a wholly Shakespearean vocabulary So nexttime you want to call someone a jerk trysomething more like ldquoou fusty follyfallenfustilarianrdquo

e Shakespeare Translator whichtranslates ldquonormal English words and phrasesinto the words of Shakespeare himselfrdquo

e Shakespeare Fortune Cookie which provides short quotes from the plays

and a small trivia game Shakespeare or Die a game that

scrambles the words of famous quotationsfrom the plays and asks you to identify theplay and character who spoke the line If youmake a mistake however beware the witchesese apps are either explicitly games or

they are coming out of a game-like impulse tomake Shakespeare more accessible to everyone with an internet connection

Brave New WorldsIn a world where Shakespeare is an industrycounted in the millions of dollars per yearit is so easy to forget that Shakespearersquos playsare just that ndash playsere is a sense of joyand fun and happiness embedded in theexperience of watching them Games are oneof the ways that people over the centuries

have tried to recapture that elusive sense ofplayfulness within Shakespeare So it makesperfect sense that now with the advent ofdigital technologies Shakespeare is movinginto the digital world with a vengeance

From big studio games likee ElderScrolls to small apps that can be downloadedfor free from talking bears to immersiveperformance experiences Shakespeare iseverywhere in video games Rather than beingan undiscovered country into which the Bard

is only just beginning to emerge games havein fact engaged with Shakespeare and his works for hundreds of years And they willprobably continue to do so for hundreds ofyears to come

rsquoSpeare is a scrollingarcade-stylegame with addedShakespeare trivia

Hamlet is aShakespeare-themed puzzle fromBig Fish Games

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Meet thy makers

Helen Mears fell into bardolatryduring her teenage years and has

never recovered She is a volunteersteward at Shakespearersquos Globe

which ensures a regular diet of theBard She teaches English Film andMedia at Suffolk New College and isa specialist in teaching Shakespeareusing active methods Her favouriteShakespearean actor is Jamie Parker

and her favourite plays are the SecondHistory Tetralogy She hopes to

finish her Masters in the AdvancedTeaching of Shakespeare very soonFind her on Twitter hipster_hels

Paul F Cockburn is an Edinburgh-based freelance magazine journalist who specialises in writing about

arts and culture equality issues andpopular science Hersquos sufficiently

grey-haired for his English Literaturetraining to have sort of overlapped

with The BBC Television Shakespeareproject saving at least some of the

plays from death by academiaFind him on Twitter paulfcockburn

Jen Richardson first fell in love withShakespeare as a 15-year-old schoolgirl

ldquoHe got under my skin and hersquos still theretodayrdquo After training with a Manchester-based drama tutor she went on to pursuean acting career Drama remains a greatinterest but her focus is now on sharing

her passion for Shakespeare throughher writing In her spare time Jen is

generally down in Stratford-upon-Avonsitting on her favourite bench behind

Holy Trinity ChurchFind her on Twitter The_JenJen

Andrew Bretz is a sessional instructorof English Literature and Drama

specialising in early modern dramaHe has taught at Wilfrid LaurierUniversity the University of Guelph

Brock University and McMasterUniversity For the past two years he

has taught a special summer intensiveat Ontariorsquos Stratford Festival His PhDdissertation was on the representationof sexual violence on the early modern

stage Find him on TwitterAndrewBretz001

Just some of the contributors to this issue of Shakespeare Magazine

Rosalind Lyons is a painter whohas exhibited widely in both mixedand solo shows with work in UK

and international private collections A life-long love of Shakespeare isreflected in many of her paintings

and a particular recent focus isShakespearersquos Globe theatre where shespent a period as artist-in-residenceShe is currently studying for a PhD

in Painting and ShakespeareanTheatre at Anglia Ruskin University

in CambridgeFind her on Twitter roslyons

52 SHAKESPEARE magazine

Contributors

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Page 5: Shakespeare Magazine 08

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Benedict Cumberbatch

6 SHAKESPEARE magazine

BigBen

ldquoHow weary stale fl at and unpro fi table

Seem to me all theuses of this worldrdquo [I 2]

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Perhaps the quintessentially English actor

Benedict Cumberbatch is taking on the

quintessentially English poet and playwright

William Shakespeare His new Hamlet

is the fastest-selling production in London

history but which other Shakespeare roles

has Benedict played And how does he feel

about tackling The Big One

Words Helen Mears Photos Johan Persson

Benedict Cumberbatch

SHAKESPEARE magazine 7

Lyndsey Turnerrsquos 2015production of Hamlet

features striking setdesigns by Es Devlin

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Benedict Cumberbatch

8 SHAKESPEARE magazine

and Romeo and Juliet playing Orlando andBenvolio respectively

Shakespeare does not feature again inCumberbatchrsquos CV Instead he worked his way through acclaimed TV work such as hisportrayal of Steven Hawking in 2004 bio-drama Hawking and his role as the troubledartist Vincent Van Gogh in 2010rsquos VanGogh Painted with Words and film roles in Atonement (2007) and The Other Boleyn Girl (2008) before breaking big in 2010 with theBBCrsquos Sherlock The programme was a world- wide success and propelled Cumberbatchonto the acting A-list Since then he hasfeatured in Star Trek Into Darkness (2013) 12Years a Slave (2014) and two of the Hobbit films (2013-14) in which he voiced thedragon Smaug He also made a huge successof The Imitation Game (2014) in which heplayed codebreaker Alan Turing

Now Benedict is returning to Shakespeare with vengeance with two major roles on

stage as tragic hero Hamlet and on BBCTV as arch-villain Richard III in The HollowCrown The Wars of the Roses A taster came inthe BBCrsquos Lifetime of British Drama promo where he beautifully recites the Seven Agesof Man speech from As You Like It over clipsfrom classic BBC dramas past and present

Incredibly Cumberbatch is himself adistant descendant of Richard III The actorread Carol Ann Duffyrsquos specially-composedpoem lsquoRichardrsquo at his ancestorrsquos re-interment

at Leicester Cathedral in March 2015 Hefelt honoured to have been involved and itseemed particularly apt that he was filmingthe role of Richard at the time of thishistoric event ldquoHaving just played his verydifferent Shakespearean characterisationrdquo

Benedict will beseen as Richard IIIin the second cycleof the BBCrsquos The

Hollow Crown

B enedict Cumberbatchrsquos professionalrelationship with Shakespeare began early inhis career back in 2001 He appeared in theNew Shakespeare Companyrsquos productions inRegentrsquos Park playing the King of Navarrein Loversquos Labourrsquos Lost and Demetrius in A Midsummer Nightrsquos Dream As he told Whatrsquos

On Stage in 2005 ldquoThey were my first twoprofessional roles in the theatrerdquo In theinterview he also stated that Shakespeare was his favourite all-time playwright Thispresumably influenced his decision to returnto Regentrsquos Park in 2002 for As You Like It

ldquoYou wouldnrsquot look twice at Richard Hersquos avery dangerous charming powerful manrdquo

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Benedict with MartinFreeman (left) in theBBCrsquos Sherlock

Rehearsals forHamlet July 2015

Benedict Cumberbatch

SHAKESPEARE magazine 9

he commented ldquoI was intrigued to see whatthe real historical event would be like andto be a part of this extraordinary moment ofremembrance Then what really sealed thedeal was this beautiful poemrdquo

Benedict feels that the discovery ofRichardrsquos remains has changed peoplersquosperceptions ldquoI think the debate in historicaland archaeological terms about the reality ofhim and his kingship is whatrsquos extraordinaryto witness nowrdquo

He also recognises the perilous appealof Shakespearersquos Richard ldquoYou wouldnrsquotlook twice at him necessarilyrdquo he said ldquobutonce he had you in his beamhellip Hersquos a verydangerous charming powerful manrdquo

Cumberbatch was boldly instrumentalin Dame Judi Denchrsquos appearance in TheHollow Crown The Wars of the Roses Heattended a Shakespearean workshop eventat which the veteran actress was appearing When the audience were asked if they hadany questions he leapt into action askingldquoWould you like to be in Richard III withmerdquo Dame Judi naturally accepted

And fans of Sherlock will already knowthat Andrew Scott who played criminalmastermind Moriarty will also be appearing

in The Wars of the Roses as the French KingLouis

But itrsquos Cumberbatchrsquos run as Hamlet

at Londonrsquos Barbican that is arguably the Shakespeare event of 2015 It sold out inrecord time (although the venue promisethat day tickets will be available for eachperformance) as fans worldwide foughtfor their chance to see Benedict play theDane It is clearly the fruition of a dream forCumberbatch Indeed when asked at 2012rsquos

Cheltenham Literary Festival which play he would choose if he could only perform onemore stage role he opted for Hamlet ldquoEveryactor wants to have a go at itrdquo he said ldquoand I want to have my go at it and I will But wersquore working out when and howrdquo

Well the ldquowhen and howrdquo is right nowBenedict Cumberbatchrsquos career has come fullcircle from his first professional performanceof Shakespeare to playing his dream role Ifyoursquore lucky enough to have a ticket yoursquoll

be witnessing the most talked-about andfeverishly-anticipated theatrical event in yearsIf not therersquos always those queues for daytickets Wersquoll see you there

Hamlet runs at the Barbican Theatre

London until 31 October

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Shakespeare On Sale

SAVE 25 Since 1941 Dover Publications has built its reputation by offering remarkable books at

amazing prices Discover our fine catalog of the works of William Shakespeare

The complete collection of comedies historiesand tragedies all in compact 5rdquo x 8rdquo unabridgedpaperback editions The lowest-priced editionsavailable for todayrsquos educators students actorsand Shakespeare lovers of every kind

Complete and unabridged text of a play plus acomprehensive study guide with scene-by-scenesummaries explanations and discussions of the plota question-and-answer section and more

Calla Editions reg Books of Distinction for the Contemporary Bibliophile

Our premium imprint features impeccable hardcover reproductionsof some of the most beautiful books ever published Filled with

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To SAVE 25 Click Here

NO minimum order required bull Use CodeWLA2 at checkout bull Expires 123115

P l u s M or ehellip

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G A L L E R Yamp R E V I E WFor a generation of Cumberbatch fans lsquoBenedict at the Barbicanrsquo is the

most sensational and controversial Shakespeare production of a lifetime

Images Johan Persson Words Liz Barrett

Hamlet

ldquoTo be or not to be ndashthat is the questionrdquo[III 1] Controversially the playrsquos most iconicspeech was moved to the beginningAs we went to press however thisdecision had apparently been reversed

Benedict Cumberbatch

SHAKESPEARE magazine 11

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Benedict Cumberbatch

12 SHAKESPEARE magazine

ldquoA villain kills my father and for thatI his sole son do thissame villain sendTo heavenrdquo [III 3]

ldquorsquoTis in mymemory lockrsquod And you yourself

shall keep the key of itrdquo[I 3] Ophelia (Siacircn Brooke)

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Benedict Cumberbatch

SHAKESPEARE magazine 13

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Benedict Cumberbatch

16 SHAKESPEARE magazine

ldquoAnd yet to me whatis this quintessence

of dustrdquo [II 2]

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Even more than London there

is one place above all that is

green and pleasant landhellip

Words Helen Mears

Pictures Helen Mears and Susan Braund

Stratford-upon-Avon

SHAKESPEARE magazine 19

W e could be in any smallpicturesque Englishtown with its medievalchurch half-timberedTudor buildings shops

restaurants and delightful riverside walksBut Stratford-upon-Avon is not just any

town Itrsquos one of the best-known most- visited and probably most-loved locations inEngland Thatrsquos because itrsquos the birthplace of William Shakespeare Itrsquos also the place heseems to have considered his home After allShakespeare grew up there went to schoolthere and spent his final days there

So here is Shakespeare Magazinersquos on-the-ground guide to Stratford-upon-Avon Hereyoursquoll find hints and tips for first-time visitorsand returning aficionados alike What to see

the best ways to see it where to stay where toeat and how to get around while yoursquore there Are you ready Then letrsquos start our tourhellip

The BirthplaceSurely the must-visit spot for any self-respecting Bardolator this is where it all beganndash the six-roomed Merchantrsquos House on HenleyStreet where in April 1564 Mary Shakespeare wife of glover John gave birth to their famousson Williame house is approached

HOME

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20 SHAKESPEARE magazine

through the Shakespeare Centre on the left-hand side of the Birthplace A short exhibitionshows you items such as a prized First Folioand the foot of Stratfordrsquos Old Market Cross

from where glover John Shakespeare wouldhave sold his wares A walk through the gardens leads to

the house itself You enter through theself-contained annexe where William and Anne Shakespeare spent the first years oftheir married life and where their childrenSusannah Judith and Hamnet were born eannexe was later occupied by Williamrsquos sister Joan You can walk through the parlour andthe dining room to Johnrsquos workshop where heproduced gloves and other leather goods

A staircase leads to two bedrooms onefor the girls one for the boys and a loft spaceis visible where the apprentices would haveslept Finally you reach the birth room themain bedroom in which William and his sevensiblings were born

Guides are on-hand in all rooms to tell youtheir history and other gems of informationComplete your visit by watching classicShakespearean speeches performed in thegarden by resident acting troupe Shakespeare

Aloud and then picking up some souvenirs inthe gift shop and excellent bookshop

e five house ticket is the best value givingyou entry to all of the properties (HarvardHouse is a current alternative to New Place)and allowing you to view Shakespearersquos Gravein Holy Trinity Church

The Avon and Boat trips A walk along the Avon is a must in any seasone gentle stroll from the RSC to Holy Trinity

Church will take you past drooping willowssmoothly sailing swans and green parklandFor a diff erent perspective on the town you cantake a boat trip along the river itself Startingfrom near the RSCeatre you cruise gentlydown to the church where Shakespeare wasbaptised and buried before turning back andheading past the theatre and under CloptonBridge Itrsquos a bridge that William himself would have known built as it was around1480 e Avon is very pretty everywhere

you look are the incredible tame (and alwayshungry) swans and picturesque houseboatse banks are lined with weeping willows that just might have been the inspiration for poorOpheliarsquos watery end in Hamlet If you wouldrather take a slower self-driven trip there arerowing boats canoes and small speedboatsfor hire Beware though these are not aseasy to control as they look and you may wellspend a good proportion of your allottedtime relearning how to row and avoiding

Stratford-upon-Avon

The birth roomat ShakespearersquosBirthplace

Molly fromShakespeare Aloudin the Birthplacegarden

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SHAKESPEARE magazine 21

other hapless river tra ffic Boat trips typicallylast for around 40 minutes and are especiallypleasant in the late afternoon when the sun setsslowly behind the church steeple For addedluxury you can take a restaurant cruise where

afternoon tea or an evening meal are served onboard or as a quicker cheaper alternative youcould take the chain ferry across the Avoneferry dates from 1937 and is the last of its kindin the UK

Nash House and New Place

As well as the Henley Street property theShakespeare Birthplace Trust care for fourother locations in and around Stratford allassociated with Williamrsquos family Nash House

and New Place were adjoining propertieseformer was the home of Judith Shakespeareand her husband while the latter was thefamily home that William purchased in 1597at the time the second most expensive housein the town Sadly it was demolished by asubsequent owner but the Trust are currentlyundertaking a massive renovation of the siteis means that the properties will not be opento the public until 2016 to coincide with the400th anniversary of Shakespearersquos death

Hallrsquos Croft

A brief walk from New Place will take youto Hallrsquos Croft the home of SusannahShakespeare and her husband the physician John Hallis is an interesting property in its

own right and is partly set up to show how apractising physician would have worked at thetime A special mention too must goe Arterthe award winning independent craft shopadjoining the building and to the beautifulgarden in which open air performances ofShakespearersquos plays are sometimes performed

Stratford-upon-Avon

Holy TrinityChurch viewedfrom the Avon

Nash House andNew Place

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22 SHAKESPEARE magazine

Anne Hathawayrsquos Cottage A short distance from Stratford is Shottery where you can find the beautiful cottage

which was the home of the Hathaway familySet in yet another lovely garden this is thehouse in which Anne Hathaway grew upand was courted by the young William JohnShakespeare served with Anne Hathawayrsquosfather on the town council so their childrenprobably knew each other from a young agee family remained associated with thecottage for several centuries and have spunmany a yarn about the young lovers theveracity of which are highly questionable

However the stone floor of the kitchen isoriginal and we know that William must have walked those stones many many times

Mary Ardenrsquos Farme last of the Shakespeare properties is Mary Ardenrsquos Farm Shakespearersquos mother lived hereand itrsquos where she probably took the infant William when plague broke out in Stratfordshortly after his birth Open from March toNovember only the farm is run as a working

Tudor farm with costumed guides caring forthe buildings and the animals Itrsquos a great placefor a family day out with plenty to see and doand numerous activities runningere are

daily falconry shows archery animals to feedand games to play You can even treat yourselfto a genuine Tudor meal in the cafe ndash pottageand home-baked breads are a speciality

What if you donrsquot have a care town itself is fairly small and all themain attractions are within walking distanceHowever the easiest way to get around and toenable a visit to Anne Hathawayrsquos Cottage andMary Ardenrsquos farm is to the Hop On-Hop Off City Sightseeing busis will take you to allthe main town locations and also to Shotteryand Wilmcote A day ticket will give youunlimited access to the buses and allow you tovisit all of the Shakespeare properties e buscan be picked up by the statue of Touchstonethe jester at the top end of Henley Street

Walking Tours Another excellent way to see the main sites ofStratford and to learn some of the historicaltales of the town is to take a walking tour

Stratford-upon-Avon

Anne HathawayrsquosCottage

Mary Ardenrsquos Farm

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ere are several options depending on thetype of tour yoursquod likee town guides runhistorical tours of the town every day (yesevery day) of the year For those who like to be

a bit more daring there are evening ghost walksled by costumed guides who will tell you someof the spooky tales of Stratford Both of thesetours start from the Swan Water Fountain onthe riverside

Or if you like the idea of being guidedby Shakespeare himself on a Saturday (andMonday to Saturday through the summerholidays) there are town walks led by the manhimself (or someone who looks an awful lotlike him)ese run from Tudor World onSheep Street an interesting museum in thehouse that belonged to the man who wasallegedly the model for Sir John Falsta ff

Holy Trinity Church Another must-see is the townrsquos 13th centurychurch with its distinctive spire that dominatesthe view from the river Remember that if youhave a ticket to the Birthplace properties yourvisit to the grave is free e church is famousfor being where William Shakespeare wasbaptised on 26 April 1564 e old font that

was used for the baptism is displayed in thechancel along with copies of both the registerof baptism for April 1564 and the register ofburials for April 1616 where Shakespearersquosname can be clearly seen Also in the chancelin front of the altar are the Shakespeare familygraves Williamrsquos bears its infamous curse

ldquoGOOD FRIEND FOR JESUSSAKE FOREBEAR

TO DIGG THE DVST

ENCLOSED HEREBLESTE BE YE MAN YT SPARESTHESE STONES

AND CURSED BE HE YT MOVESMY BONESrdquo

On the wall above the grave is the effigy of

Shakespeare Itrsquos one of the few images which was produced within the lifetime of AnneShakespeare and probably one of the mostauthentic likenesses of her husband

The Guildhall and King EdwardrsquosSchoolDirectly opposite the site of New Place standthe Guildhall and the townrsquos old grammarschool Both of these places have links to theShakespeare family King Edwardrsquos Schoolis where the young William is believed tohave studied and itrsquos probably where hefirst encountered the classical texts which soinspired him As the son of a town councillorhe would have been entitled to a placee

old school is sometimes open to visitors at weekends or during the holidays but theschool has just won a lottery grant whichshould enable them to open it as a permanentattraction e Guildhall was sometimes hostto groups of travelling players and so it couldbe the site where young William first sawtheatrical performances It is widely believedthat John Shakespeare owing to his role astown bailiff was responsible for supervising the whitewashing of the medieval Doom Painting

Stratford-upon-Avon

SHAKESPEARE magazine 23

The GuildhallDoom Painting

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24 SHAKESPEARE magazine

Stratford-upon-Avon

is has been recovered and is now once againvisible above the chancel arch

The Royal Shakespeare CompanyTheatre and the riversidee riverside park is home to several interestingsights It is from here that you can get a view ofthe Clopton Bridge pick up a river cruise feedthe swans and admire the Gower Memoriale memorial was presented to the town in1888 and features a statue of Shakespeareseated upon a plinth overlooking statues offour of his best known charactersese areHamlet Prince Hal Sir John Falsta ff and Lady

Macbeth who represent Comedy HistoryPhilosophy and Tragedy Closer to the theatreis the beautiful Swan Water Fountain unveiledin 1996 If you see the water frothing fear notit seems to be a sport amongst local youngstersto fill the fountain with washing up liquid on aregular basis

e Royal Shakespeare Companyeatre was built in 1932 but has recently undergonea complete refurbishment in both the mainand the Swan theatres e building reopened

in 2010 with both theatres having beenconverted to boast thrust stages and curvedgalleries similar in shape to the originalElizabethan playhousese world renowned

Royal Shakespeare Company performshere throughout the year staging plays byShakespeare and his contemporaries as well asby newer authors ey also run an educationprogramme exhibitions family activitiesduring the school holidays and theatre toursTo see Stratford from an entirely diff erentangle take the lift up the 36 metre high towerfor spectacular views across the town

Where to eat and drinkStratford has an excellent range of eateriesto suit all tastes and budgets ere is pubgrub afternoon teas world cuisine finedining pizza pasta and fish and chips Manyrestaurants off er pre-theatre menus and ifyoursquove been on a town walk you may find thatyou can get discount vouchers for your foodere are many pubs in Stratford including theGarrick Inn the oldest pub in the town whereyou can taste the Shakesbeer specially brewedto celebrate Shakespearersquos 450th Birthday in2014 If you want to spot RSC cast members

relaxing after their showse Dirty Duck on Waterside is the place to drink

Where to stay Again Stratford-upon-Avon has a good varietyof hotels bed and breakfasts and holidayhomes All the main chains have hotels inthe town from budget brands to the luxurynamesere is an excellent choice of bedand breakfast establishments in and aroundthe town again these will suit all tastes and

budgets Airbnb also has an interesting rangeof rooms flats and houses to rent in StratfordHowever be sure to book early especially forthe prime summer months

The Shakespeare Birthplace Trustwwwshakespeareorguk

The GowerMemorial Will andPrince Hal

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M

any places around the worldhave been named afterStratford-upon-Avon thebirthplace and home of William

Shakespeare And many of those Stratfordsare home to theatre festivals of varying sizesStratford in the state of Victoria in Australiahas an annual Shakespeare festival still goingevery year while Stratford in Connecticut inthe USA had a major theatre from the mid1950s to the mid 1980s Stratford Ontarioin Canada however stands out among thesetowns and festivals not merely in scope but ininternational reputation and prestige

In 1950 Canada had no home-growntradition of classical theatre Certainly

Shakespeare was performed but there hadbeen a strong anti-theatrical movement inCanada throughout the 19th century whoseeffects still lingered throughout the first half ofthe 20th As a cultural icon Shakespeare wasedifying to be sure but certainly not to beperformed The Stratford Festival changed allof that for Canada

In the late 1940s the local newspapers andgovernment of the town conceived of the ideaof revitalising Stratfordrsquos sagging economy by

capitalising on the name of the town and its

long association with the Bard They bandedtogether and under the leadership of TomPatterson they brought over Tyrone Guthrieand Alec Guinness for the first season in1953 Guthrie had famously directed Gielgud

inHamlet

at Elsinore Castle in Denmarkand had been the manager of the Old Vic inLondon He wanted to create an acting spacethat echoed the original Globe theatre whereactors were surrounded by the audience incontrast to the proscenium arch theatres thatdominated the London and New York scenes

From the first performance which tookplace inside a giant circus-style tent on thebanks of the Avon River the festival workedto create a new aesthetic of Shakespeareanperformance The thrust stage of the FestivalTheatre designed by Tanya Moiseiwitschhas been recognised as one of the greatinnovations in stage design of the 20th centuryGenerations of actors have had to learn howto address an audience on three sides of themsometimes only an armrsquos length away

The festival has been central to the careersof Canadian actors such as ChristopherPlummer Martha Henry and even WilliamShatner Actors from the US and UK havesought to play the festival as well including

Peter Ustinov Christopher Walken and JessicaTandy Indeed these international stars notonly lend credibility but have indelibly markedthe festival For instance Maggie Smithrsquosperformance as Rosalind in As You Like It inthe 1977 and 1978 seasons is legendary in thecompany and the town

Today the festival has expanded to includemultiple performance spaces a theatre schooluniversity accredited courses and the largesttheatrical costume shop in North America

It has started countless careers inspiredcompanies such as Torontorsquos SoulpepperTheatre and helped shape the Canadiantheatre landscape for over 50 years

Stratford Festival ndash Ontario Canada

wwwstratfordfestivalca

MEANWHILE

IN CANADATherersquos more than just one Stratford you knowAnd the one in Ontario Canada has a world-renownedShakespeare Festival gives us a tour

Stratford Ontario

SHAKESPEARE magazine 25

ldquoFrom the fi rst performancethe Festival worked tocreate a new aesthetic ofShakespearean performancerdquo

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Planning to performa short selection

from Shakespeare

The 30-Minute Shakespeare

Anthology contains 18 abridged

scenes including monologues from

18 of Shakespearersquos best-known plays

Every scene features interpretive stage

directions and detailed performance

and monologue notes all ldquoroad testedrdquo

at the Folger Shakespeare Libraryrsquos

annual Student Shakespeare Festival

THE 30-MINUTE SHAKESPEARE is an acclaimed series of abridgments that tell the story of each play while keeping the beauty ofShakespearersquos language intacte scenes and monologues in this anthology have been selected with both teachers and students inmind providing a complete toolkit for an unforgettable performance audition or competition

NICK NEWLIN has performed a comedy and variety act for international audiences for more than 30 years Since 1996 he hasconducted an annual teaching artist residency with the Folger Shakespeare Library in Washington DC

The 30-Minute Shakespeare series is available in print and ebook format at retailersand as downloadable PDFs from 30MinuteShakespearecom

The 30-Minute Shakespeare Anthology

includes one scene with monologue

from each of these plays

ldquoLays the groundwork for a truly fun and sometimes magical

experience guided by a sagacious knowledgeable and intuitive

educator Newlin is a staunch advocate for students learning

Shakespeare through performancerdquo mdashLibrary Journal

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Roaslind Lyons

28 SHAKESPEARE magazine

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For UK artist Rosalind Lyons the Bard is a

constant presence in her creative life She tells

us how Shakespeare inspired the haunting and

dreamlike works that adorn these pages

Words and paintings by Rosalind Lyons

Rosalind Lyons

SHAKESPEARE magazine 29

Left TheRoaring Boys

PAINTINGSHAKESPEARE

S hakespeare has long been at the heart ofmy work sometimes directly and obviouslyin the subjects and often in the titlesBut always Shakespearersquos words charactersand stories are there in my head when Iam painting ndash a perpetual conscious andunconscious presence

My style echoes that of the Renaissancepainters and Elizabethan portraits andthese influences combined with a life-long love of Shakespeare made my firstvisit to Shakespearersquos Globe pivotal Iexperienced a powerful sense of connectionand recognition Here suddenly ideasand themes with which I had been so longpreoccupied were brought to life

I subsequently gained access to theGlobe to draw and later spent some time

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as Artist in Residence thereat experienceprompted more in-depth exploration notonly of Shakespeare and painting but of therelationship between painting and theatreere are of course the strong visualconnections ndash both are spaces for spectacleand illusion But also compelling ideas oftransformation imagination storytelling andidentity And overall the theme of ambiguitye blurring of boundaries between realityand fiction male and female light andshadow past and present I am fascinated byhow we respond to history how we re-presentand re-imagine the past And the figures inmy paintings are imagined as belonging toboth now and then ndash flitting back and forthacross the threshold between past and presentbetween Shakespearersquos time and our own

modern worldI have painted some specific characters

from Shakespeare but many subjects ofmy paintings are anonymouse figuresare unknown their place purpose role is amysteryis anonymity is unsettlingereare clues in the setting in the costumes ndash orperhaps I should just say in the clothes theyare wearing ndash but the context is not obviousI am fascinated by the dramatic convention ofcross-dressing ndash and particularly the inherent

confusion as with Rosalind ( As You Like It )and Viola (Twelfth Night ) in the idea of aboy playing a girl playing a boy Many of thecharacters I invent are androgynous theirgender and age uncertainis ambiguityof identity interests me in the context ofvisual illusion and theatrical transformationthe idea of inbetween-ness and somethingunresolved

Like theatre my paintings are concerned with inventing characters and the creation

Right No MoreYielding But A

Dream

Roaslind Lyons

30 SHAKESPEARE magazine

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of an imaginary world and I am particularlyattracted to the fools fairies and witchesIn A Midsummer Nightrsquos Dream the fairiesrsquoactions may seem malevolent or benign or just mischievous but there is definitely a dark

side an underlying sense of threate Fool too is intriguing Shakespearersquosfools frequently describe themselvesor are referred to as a nobody but areunquestionably much moree fool is anoutsider concerned with but at the same timeseparate from the story He ndash or sometimesshe ndash doesnrsquot quite belong anywhere butseems to exist on the boundary between thefamiliar and the uncanny

I am attracted to the strange to mysteryand shadows and try to express through myimages a strong feeling that it could be thator maybe something else As Orsino says atthe conclusion of Twelfth Night ldquoA naturalperspective that is and is notrdquo While makinga painting and even when it is finished Idonrsquot know really who my characters are ndashthey remain elusive But I like not knowingand ultimately meanings always change anddepend on individual perceptions

My experience at the Globe led to aparticular fascination with the ambiguous and

protean quality of the theatrical performerhow their identity transforms and fluctuatesI was attracted by this when watching

Rosalind Lyons

SHAKESPEARE magazine 31

Above A MidwinterNightrsquos Dream

Right Three Fools

Far right FollowingDarkness

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rehearsals observing actors shift between selfand impersonation between diff erent realitiesand identities When they are not acting theyndash metaphorically and often literally ndash melt

into the shadows I am interested too in thephysical and symbolic threshold between lsquoonrsquoand lsquooff rsquo-stage the transformation inherentin an actor moving from the wings onto thestage assuming another self and anotheridentity Particularly evocative is the fact thatactors were colloquially known as shadowsin the Elizabethan playhouses ndash suggestingsomething unknowable and insubstantialIn the Prologue to Henry V Shakespeare hasthe Chorus describe the players as lsquociphersrsquoimplying deception and secrecy

Artists in the past who have tackledShakespeare have generally produced imagesthat directly illustrate the text or representfamous actors or scenes from a particularperformance Today as well as on the stageShakespearersquos plays are frequently re-imaginedin very successful film and TV adaptationsbut I have struggled to find more than ahandful of contemporary fine artists whohave engaged with Shakespeare on any levelPerhaps Shakespeare as a subject is seen

by some as too traditional too lsquopopularrsquoor simply just too lsquooldrsquo But in the theatreand in literature there is an ever-increasingenthusiasm for innovative interpretationsof the plays and for me Shakespeare is aconstant inspiration

e Prologue of Henry V also urges theaudience to ldquoPiece out our imperfections withyour thoughtsrdquo to liberate the imaginationand create another kind of reality to shapeour own fantasies within the ldquowooden Ordquo of

the theatre In my paintings I endeavour todo the same

Explore the work of Rosalind Lyons atwwwrosalindlyonscom

Above These Two CreaturesBelow Therersquos Magic In Thy Majesty

Roaslind Lyons

32 SHAKESPEARE magazine

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$amp( ) +-01

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Aidan OrsquoReilly

34 SHAKESPEARE magazine

Looking forRichard AidanOrsquoReilly is playingShakespearersquosbaddest monarch

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Aidan OrsquoReilly

SHAKESPEARE magazine 35

You are legally blind having been

diagnosed with retinoblastoma as an

infant How did this impact on your

acting aspirations and early career

ldquoMy parents did a good job raising me Inever grew up thinking of it as a handicap orthinking it could hold me back from what I wanted to do I couldnrsquot play sports at all soI think my parents were grateful that I hadsomething that I was passionate about from avery young age

ldquoI went to a public elementary school with a program designed for the blind so itfelt very natural for me to be the way that I was And acting has always been part of thatrdquo

You went to RADA in London Was

there a reason why you wanted to

train in England and not in the US

ldquoItrsquos always been an ambition of mine to

travel as far and wide as possible Also myhero growing up was Peter OrsquoToole ndash Iread his autobiography in high school andlearned he had gone to RADA and decided I wanted to go there too So I auditioned therenot knowing that RADA is arguably thebest drama school in the English-speaking world Consequently I was quite relaxed atthe audition which is probably why I gotin My ignorance can sometimes serve me well Going to RADA was a life-changing

Aidan OrsquoReilly is an actor with an

inspiring story Legally blind since he

was six months old he forged a passionfor drama at an early age Aidan went

on to gain a BA with honours from

Londonrsquos Royal Academy of Dramatic

Art before touring for three years with

the American Shakespeare Center

In 2012 Aidan was diagnosed with

sarcoma a rare cancer He bounced

back in 2014 after intensive treatment

and is now cancer-free We spoke to

Aidan as he prepared to play the title

role in Richard III for Californiarsquos Marin

Shakespeare Company We asked himto share his story and to give us his

take on one of Shakespearersquos most

fascinating characters

Interview by Jen Richardson

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Aidan OrsquoReilly

36 SHAKESPEARE magazine

experience I was lucky enough to havecontact with brilliant professors and Irsquom stillin awe of the students I went to school withI wouldnrsquot trade that experience for anythingrdquo After graduating from RADA you

went on the road with the American

Shakespeare Center Tell us a bit

about that

ldquoThat was one of the happiest times of mylife In many ways I got spoiled I was a working actor 11 months out of the yeartouring nationally seeing parts of the USI had never been to before doing plays Iloved and working with directors who werevehemently faithful and respectful to the text When I wasnrsquot on the road I was in residenceat the Blackfriars Playhouse in StauntonVirginia with many extraordinary actorsI was very lucky to be thererdquo

Three years ago you were diagnosed

with sarcoma How did you

overcome this enormous challenge

and return to the stage in 2014

ldquoThe only reason Irsquom still alive is because ofmy mother Lily and my wife Jocelynn AlsoI was fortunate that we caught it before it hadspread and it was on my leg and away fromany major organs

ldquoI am very grateful for my team of doctorsat UCSF who did an incredible job in mytreatment and follow-up care Irsquom glad to beback to workrdquo Yoursquore now due to play Richard III

with Marin Shakespeare Company

Howrsquos it going so far

ldquoAt this point Irsquom in the paperwork stage

of things A lot of reading the HenryVI s biographies of Richard as well asperformance history of the play itself Irsquomdoing a fair amount of limping around myapartment as well I canrsquot wait to get intorehearsals next weekrdquo Tell us about Marin Shakespeare

Company and what appealed to you

about working with them

ldquoRobert and Lesley [Currier MSCrsquos Artistic

Director and Managing Director] arefascinating people Their intelligence andhumour is contagious Without questionthere is a lot to be learned from themrdquo Richard IIIrsquos remains were discovered

in 2012 and reburied this year Is all

the new information about Richard

influencing your portrayal

ldquoYes and no My job isnrsquot to play the historicalRichard but the Richard that Shakespeare has

Aidan believesthat Richard IIIrsquosobsession withcontrol is whatcauses his downfall

ldquoPeter OrsquoToole wasmy hero He went to

RADA so I wanted to go there toordquo

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Crowning gloryAidan with MarinShakespearersquosRobert Currier

created Itrsquos helpful to know the facts of thesituation in order to gain insight into whathas been changed in Shakespearersquos versionof events

ldquoI met with a friend of mine who is a

retired surgeon who walked me through themedical information that has come to lighton Richardrsquos body and I will certainly usethat to inform my physical choicesrdquo Unlike many actors yoursquore the right

age to play the historical Richard III

Do you feel Richardrsquos relative youth

has been overlooked

ldquoI do Richard is a young man who believeshe is hardened by the experiences he andhis family endured during the War of theRoses and believes himself to be beyondhuman emotions and the lsquorestrictionsrsquo of aconscience He isnrsquot He pays the bill for thehorrible things he does That lack of self-knowledge is not exclusive to youth but I feelit makes him more sympathetic and relatableto an audiencerdquo Some people think Richard III shows

Shakespeare delivering a highly

effective piece of Tudor propaganda

Where do you stand on thatldquoI think Shakespeare has a soft spot foroutsiders and underdogs Although his playssometimes work within the confines of thebiases of Elizabethan society he canrsquot help butmake his lsquovillainsrsquo fascinating human beings

For as horrible as Richard is itrsquos amazing tosee how audiences relate and respond to himrdquo Which other important themes do

you feel Shakespeare deals with in

the playldquoThe history plays are full of extraordinarypeople who waste their lives and intelligence who sacrifice their humanity in pursuit of thecrown Itrsquos still happening today What is theattraction of power Richard never pauses tothink of why he wants the crown or if hersquodbe any good as king Turns out hersquos not butitrsquos this bizarre obsession with control thatpropels him to kill everyone off thatrsquos in his way Itrsquos also fascinating that the one characterthat is consistently kind to Richard is hisfather York

ldquoI think an argument can be made thatRichard in his warped way is trying to liveup to the image he has of his father Ofcourse York is dead and gone by the timeRichard III begins but you can glean a lotabout Richardrsquos inner workings in the way hespeaks about his father Of course itrsquos foolishto try to answer questions that Shakespearedoesnrsquot and Irsquom not trying to say this solvesa mystery but I think itrsquos interesting Itrsquos only

an element itrsquos not the answerrdquo Richard III is listed as a historical

play in the First Folio but in the

quarto edition it is termed a tragedy

Which category would you put the

play in and why

ldquoI think of the history plays from Richard II to Richard III as one vast play an epic thatencompasses all the categories I think if youlook at Richardrsquos progression through those

plays you see a great mind warped by the War of the Roses and that certainly adds tothe tragic element I think of Richard III asthe final chapter of a great epicrdquo

Aidan OrsquoReilly stars in Marin ShakespeareCompanyrsquos Richard III from 4-27 September

Aidan OrsquoReilly

SHAKESPEARE magazine 37

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Scotland Shakes

SHAKESPEARE magazine 39

Bonnie Prince

Brian Fergusonas Hamlet in theCitizens Theatre

production Photoby Tim Morozzo

Billy William Shakespeare is undoubtedly Englandrsquos

Bard But how is he viewed north of the border

Our Caledonian correspondent surveys the state

of Shakespeare in Scotland and meets esteemed

outdoor theatre company Bard in the Botanics

Words Paul F Cockburn

T owards the end of May thisyear a BBC Scotland afternoon

news bulletin surprisinglyturned its attention to aforthcoming production of

ldquoone of William Shakespearersquos best lovedplaysrdquo ndash A Midsummer Nightrsquos DreamHowever this particular production wasnrsquotconsidered newsworthy because it came froman amateur group based in Dumfries andGalloway Not even that the CrossmichaelDrama Club were one of just seven amateurScottish groups taking part in the Royal

Shakespeare Companyrsquos Open Stages project which aims to help amateur companies

extend their repertoiresNo the lsquohookrsquo was how this newproduction was Shakespeare ldquobut no asyou micht ken itrdquo Because it had beenreimagined in Scots as A MidsimmerNichtrsquos Dreme

As it happens writer John Burns saysthat his principle reason for translating AMidsimmer Nichtrsquos Dreme was simply theintuition that it being in Scots would workto the benefit of the production ldquoItrsquos not

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Scotland Shakes

40 SHAKESPEARE magazine

so much that 16th century English canrsquot docertain things more that using Scots brings itcloser to a Scottish audience and to audiences who might think Shakespeare too fancyrdquo hesays ldquoI feel too that Scots can catch the sheerphysical power of Shakespearersquos language He writes lines you really feel physically when

you say them out loud My intention was touse Scots to produce a text that was actableand which would be accessible and enjoyablefor the audience and the Scots was a majorpart of thatrdquo

Arguably translating Shakespeare intoScots ndash viewed by many as a distinct languagefrom English ndash is just one way of finding thecontinued relevancies of Shakespearersquos writing with the here and now Certainly John Burns was keen to see if Scots ldquocould match the way

Shakespeare switches tonehellip from broad attimes bawdy humour to moments that aremore serious or even sinisterrdquo

Yet there is a wider perspective whether wersquore discussing translation into Scots orsaying Shakespearersquos words with a Scottishaccent Willy Maley and Andrew Murphyin their introduction to Shakespeare andScotland (published by Manchester UniversityPress in 2004) go as far as describing thetranslation of Shakespearersquos Macbeth into

Scots as ldquoa patriotic actrdquo not least becauseof ldquothe political commitment implicit intranslating from English to Scots reversing

the dominant dubbing practice infi

lmsrdquoGlasgow-based novelist and playwright Alan Bissett ndash who actively campaigned fora Yes vote during last yearrsquos IndependenceReferendum ndash has since written about howsince the 1970s Scottish theatre had ldquoadeep engagement with the shifting beastof Scottish politicsrdquo Although Bissett wasfocusing primarily on original works byScottish playwrights and directors itrsquos worthpointing out that Shakespeare ndash despite therebeing absolutely no evidence to prove he evertravelled north of Carlisle ndash has played hisown part in this

As Maley and Murphy point outldquoScotlandhellip never had precisely the samerelationship with the Bard as England hasbut has experienced a fraught process ofappropriation incorporation and resistancerdquoIn part this is because Shakespeare ndash in hislatter career ndash was among the first lsquoBritishrsquo writers Many of his later plays ndash Cymbeline King Lear even Hamlet ndash were produced

A tartan-cladAntipholus andDromio in Bard inthe Botanicsrsquo TheComedy of Errors

Brian FergusonrsquosHamlet CitizensTheatre productionPhoto by TimMorozzo

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under the patronage of Scotlandrsquos King JamesVI (aka James I of England) Each in theirown way can be said to touch on ldquothe matterof Britainrdquo the complex relationship between

the constituent elements of Jamesrsquos newlsquounitedrsquo kingdom which the Stuart monarch was determined to see joined into oneat never quite happened of course

Even after the 1707 Act of UnionScotland retained its own legal educationaland religious systems along with anaccompanying sense of Scottish identity ndash which survived even the height of the Britishempire Yet from the 1970s on there havebeen notable changes in how Shakespeareis treated by Scotlandrsquos producing theatrecompanies Several years ago GlasgowrsquosCitizenseatre delivered a powerful Romeoand Juliet in part because of their decision toset the action in a present-day sectarian Westof Scotland ndash with accents to match

ldquoEnglish-accented Shakespeare carriesa specific resonance in Scotland one thatdirectors usually choose to avoidrdquo pointsout Mark Fisher a freelance journalist criticand author of the forthcoming book How toWrite Abouteatre

ldquoIrsquom not sure exactly when attitudesstarted to change but Irsquod say the argumentin favour of Scottish-accented productionshad been pretty much won by the 1990sBy that time companies such as Raindogand directors such as Hamish Glen hadbeen making a point of casting very Scottishproductions of Shakespearerdquo

One example of how things hadprogressed even by 1992 was the late KennyIrelandrsquos production of A Midsummer

Nightrsquos Dream his first as Artistic Directorat Edinburghrsquos Royal Lyceum ldquoHe castthe mechanicals with Scottish accents andeveryone else with English accentsrdquo MarkFisher explains ldquois I said in my review wasa fundamental error ndash or some such phrasee message it sent out was that people withScottish accents were foolish figures of fun whereas people with English accents wereserious figures of respect

ldquoIreland reacted furiously to my review

and made the case that he had based thecasting of the mechanicals around (the actor) Andy Gray who has a Scottish accent Inother words the meaning I inferred hadnot been deliberate I think itrsquos true to sayhowever that Ireland never cast a Shakespearelike that againrdquo

Gordon Barr is Artistic Director of

Glasgow-based Bard in the BotanicsScotlandrsquos only professional Shakespearecompany (see following pages)

ldquoWersquove never gone out of our way tomake Scottish versions of these texts norhave we gone out of our way to have classicaltraditional voicesrdquo he says ldquoMost of our coreactors have made their careers up here so wethink of them as Scottish actors

ldquoat is important to us to not overlylook outwards for the acting company As

much as possible we work with people who are based in Scotland Wersquore regularlyproducing Shakespeare here and we want tobe a part of the training to ensure that there isa range of strong classical actors hererdquo

Citizens Theatrewwwcitzcouk

Owen Whitehawas the Fool andDavid Hayman asLear in CitizensTheatrersquos King Lear Photo by TimMorozzo

Scotland Shakes

SHAKESPEARE magazine 41

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Bard in theBotanicsrsquo As You Like

It takes Rosalind andOrlando into theopen air

ldquoTouring is something that we have wanted to do foryears but was somethingthat we could not afford

to do without fundingrdquo says Gordon Barr Artistic Director of Scotlandrsquos only professionaloutdoor Shakespeare festival Bard in theBotanics If therersquos any irony attached tothe companyrsquos first major tour of Scotland which took place in early 2015 itrsquos that theperformances of their acclaimed Romeo and Juliet ndash featuring a cast of five ndash were playedexclusively indoors

ldquoNobody is touring classical theatre in

Scotland at the minute so itrsquos importantto usrdquo Barr adds ldquoOur work is so muchabout accessibility One of the joys of beingoutdoors is that people come to see the work who wouldnrsquot buy a ticket for a theatre Ifyou can bring a picnic sit out on the grass while watching the show it feels easier moreaccessible But people canrsquot come from Thursoto Glasgow for a night just to see a productionof Shakespeare They should be able to see itin Thurso So that is kind of where the urge totour came fromrdquo

Bard in the Botanics has presented outdoorShakespeare within the grounds of GlasgowrsquosBotanic Gardens since 2003 This yearrsquoslsquoUnlikely Wondersrsquo season presented newproductions of Loversquos Labourrsquos Lost The Merchant of Venice Richard II and A Midsummer Nightrsquos Dream in lsquoreprsquo between24 June and 1 August

The companyrsquos founder Scott PalmerBarr explains had done a lot of his training atthe Oregon Shakespeare Festival one of the

biggest in North America ldquoWith the kindof drive and enthusiasm that only Americanshave he managed to convince the entire cityof Glasgow that outdoor Shakespeare would work and that the weather wasnrsquot going to be

a problemrdquoTwo years later Palmer moved on and Barr

ndash originally involved as a director ndash succeededhim as Artistic Director ldquoIf anyone then hadsaid that I would end up spending 12 yearsrunning an outdoor Shakespeare festival I wouldnrsquot have believed themrdquo he says in hisoffice hidden behind some of the Botanicsrsquogardening sheds ldquoI very quickly fell in love with it once I started working here Despiteall the trials and tribulations that outdoortheatre in Scotland brings with it therersquos just

something magical and special about it Itrsquos a very close-knit company and thatrsquos sort of keptus all here as long as we have beenrdquo

While the annual summer season ofShakespeare plays in the Botanics will remainat the centre of what the company does ndashldquoOtherwise Bard in the Botanics becomesa rather strange namerdquo ndash Barr is very much

Outof theGarden

This year has seen Glasgowrsquos Bard in the Botanicsdo something completely unexpected They wentout on a tour of ndash whisper it ndash indoor venueshellip

Scotland Shakes

42 SHAKESPEARE magazine

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Scotland Shakes

SHAKESPEARE magazine 43

focused on building on the touring side ldquoBecause it was our first ever tour we

did end up taking Romeo and Juliet to theestablished Scottish touring circuitrdquo he addsldquoIt takes a while to build up relationships with the smaller venues thatrsquos going to bean ongoing process for us Even so we weretaking Romeo and Juliet to places like Mulland Stranraer ndash communities and venues thathavenrsquot had a lot of classical theatre comingthrough themrdquo

The choice of play was deliberate too ldquoIt was a production that was ready to go whichhad received five star reviews and sold out itsextended run in the Botanics in 2012 So weknew that the work was good but therersquos nodoubt that for a first tour we wanted to makeit easier for the venues to sell it Most venuesknow they can find an audience for Romeo and Juliet rdquo

In time he hopes that audiences aroundthe rest of Scotland will come to trust the Bardin the Botanics name sufficiently to take on theless familiar plays

ldquoYou just donrsquot know how quickly acommunity is going to turn out for Henry IV yetrdquo he says ldquoHopefully three or four toursdown the line theyrsquore going to turn out forBard in the Botanics ndash and if it happens to be

Henry IV well thatrsquos greatrdquoGiven their reimagining of A MidsummerNightrsquos Dream as a 1920s burlesque musicalis there a particular Bard in the Botanicsapproach to Shakespeare

ldquoOur kind of unofficial motto is lsquoBe BoldBe Braversquordquo Barr says ldquoIf wersquore continuingto stage these plays around 400 years afterShakespearersquos death I think therersquos an urgencyto ask lsquoWhyrsquo It is important to questionlsquoWhat is the story that we want to tellrsquo I wantto see how these plays intersect with historyand todayrsquos society not to present museumpieces

ldquoItrsquos always with an eye to try to releasesomething thatrsquos within the textrdquo Barrinsists ldquoWersquore not remotely interested ininnovation for innovationrsquos sake The playsare masterpieces thatrsquos essentially why wersquorestill doing them 400 years later But to revealsomething thatrsquos unexpected or new thatrsquosimportant to usrdquo

Bard in the Botanics

wwwbardinthebotanicscouk

Rosalind and Audreyin the forest Bardin the Botanicsrsquo As You Like It

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Shakespeare at the Tobacco Factory stf 2016 Seasonco-production with Tobacco Factory Theatres

HAMLETBy William Shakespeare

Directed by Andrew Hilton

Main run Thu 11 February ndash Sat 26 March 2016

In repertoire with Allrsquos Well That Ends WellMon 25 ndash Wed 27 April Sat 30 April 2016

The most famous play in world drama Hamlet

turns a new face to every decade So many

elements - political madness sex murder ndash all

brought together in a drama that is both a thriller

and the profoundest meditation on our human

condition

ldquoThrilling workrdquo The Guardian on Romeo amp Juliet

ldquoBullseyerdquo WhatsOnStage on Romeo amp Juliet

Shakespeare at the Tobacco Factory Friends Priority Booking opens Wed 23 September 10am

wwwstf-theatreorguk

Tobacco Factory Theatres Members Priority Booking opens Wed 16 September 10am

wwwtobaccofactorytheatrescom

Public Booking opens Wed 30 September 10am

Tobacco Factory Box Office 0117 902 0344

ALLrsquoS WELL THAT ENDS WELLBy William Shakespeare

Directed by Andrew Hilton

Main run Thu 31 March ndash Sat 23 April 2016

In repertoire with Hamlet

Thu 28 ndash Fri 29 April Sat 30 April

A young woman using skills bequeathed herby her father saves the French Kingrsquos life and

is rewarded with the right to choose her own

husband But what if the chosen one wonrsquot play

the game How can she get him into bed How

can she make him love her

ldquo There is something approaching real

magic hererdquo The Arts Desk on The School for Scandal

P h o t o s M

a r k D o u e t

Dorothea MyerBennett in Richard III

Benjamin Whitrowand Julia Hills in The

School For Scandal

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Having conquered

Hollywood and vanquished

the global entertainment

industry video games now

on our culture So where

does the Bard stand in all of

this We sent a Shakespeare

scholar to investigatehellip

Words Andrew Bretz

Shakespeare video games

46 SHAKESPEARE magazine

T eGamersquos A oot Silent Hill is one

big-name gamewhich includesShakespearereferences

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Shakespeare video games

SHAKESPEARE magazine 47

German cardboard Macbeth datingfrom the early1800s

Hamlet reimaginedRyan Northrsquos To Be

Or Not To Be

W

hen you walk intothe wood panelled Victorian Gothicismof the Gail Kern Paster

Reading Room at theFolger Shakespeare Library in WashingtonDC video games are probably the lastthing on your mind Buried deep withinthe archives however are a set of fragilecardboard figures printed in Germany in theearly 1800s representing each of the maincharacters of Macbeth

Nineteenth century German children would play with these figures on smallcardboard stages no bigger than a dollhouseey could replicate the story as it was toldin Shakespeare or use their imagination tochange the ending letting Lady Macbethsurvive and bringing Duncan back from thedead if they so chosee limits of the game were the limits of their imagination

Today the lsquogamificationrsquo of Shakespeareis a big business from Ryan Northrsquos choose-your-own-adventure edition of Hamlet To Be Or Not To Be to IDW Gamesrsquosupcoming Kill Shakespeare board gamebased on the comic of the same name

Gamifying Shakespeare is filtering intoschools libraries and the theatrical worldas well with the University of California atDavis the Stratford Festival in Ontario theGlobeeatre in London and the LondonMetropolitan Archives all experimenting with video game elements in exhibits productionsand research

Why video games In a sense this is thelogical next step in the media development ofShakespeare Hersquos everywhere in other media

books movies merchandise But videogamese answer for that depends on whoyou ask

StorytellingOccasionally individuals or publishinghouses develop video games that try to tellthe story of say Hamlet yet this is relativelyrare One example would be Elsinore a time-looping narrative adventure game set in the world of the play Players play the game as

Ophelia who wakes up knowing that in fourdays the entire court will be dead and shemust do something to stop ite problemis that she is stuck in a time loop reliving thesame four days over and over againat said Shakespearersquos presence in the

video game industry tends to be focused oncitation rather than adaptation of the playsat is video games for Xbox Playstationand other popular gaming systems often

just cite Shakespearersquos plays as a part of acommon cultural heritageese games donrsquotrestage say Hamlet but they quote the playIn these cases Shakespeare is used to establisha point of identification for the audience His writing tells the audience something aboutthe character or the situation

Given that audiences are supposedto be able to identify the quotations asShakespearean it is unsurprising that Hamlet is the most popular text for game designers to

cite Ine Elder Scrolls Online for instancea merchant NPC (non-player character)quotes Polonius when players interact sayingldquoNeither a borrower nor a lender berdquoe words establish the NPCrsquos role as a merchant while fitting the medieval world of thegame In the game LA Noire upon pickingup a fake shrunken head at a crime scene adetective leaps into high melodrama withldquoAlas poor Yorick I knew him Horatiordquoequotation and the clever voice acting establish

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Shakespeare video games

48 SHAKESPEARE magazine

the characterrsquos strait-laced yet macabre senseof humour

Sometimes citing Shakespeare is a partof a critique of a larger theme In the game Mass E ff ect the Elcor are a race of elephantinealiens who preface all statements with adescription of the emotion they are feelingand who speak in a slow monotonous drone As players interact with the expansive worldthey can discover a number of advertisementsfor an all-Elcor Hamlet e idea of theElcor actor ndash the ultimate in a flat woodenperformer ndash having to preface ldquoTo be or not

to berdquo with ldquomorose ruminationrdquo goes beyondthe simple humour of a bad Shakespeareperformance It subtly asks what it is aboutacting (and especially voice acting) that isvaluable

Shakespeare can appear in video gamesnot merely as a marker or contextualisationtool but as a part of a puzzle For example inthe game Silent Hill 3 players must arrange aset of Shakespeare anthologies on a bookshelfin an abandoned shopping mall in order to

proceed in the game At the hardest levelthe puzzle clue takes the form of a poemthat references all the major tragedies Romeoand Juliet King Lear Macbeth Othello andof course Hamlet e bloody nature of thetragedies fits with the bloody nature of theSilent Hill series of games which fall into thesurvival horror genre

Popular video games have also servedas the inspiration for games that engage with Shakespeare in a more direct way For

example Daniel Fischlin at the Universityof Guelph in Ontario Canada led a teamthat created a Flash game called rsquoSpeare Itrsquos

a scrolling arcade-style game suggesting thersquo80s hit Galaga which sees players identifyingand navigating through a series of enemies who turn into words upon being destroyede player progresses through the levelsby collecting the correct words to createShakespearean quotes learning Shakespeareantrivia along the way

ImmersionOne of the most exciting aspects of videogames is the ability to immerse the player inthe world of the game in a way that othermedia simply cannot do Being able to walkaround Prosperorsquos cell Julietrsquos balcony orto stand before the ghost of Hamletrsquos fatheras he cries out ldquoList list O listrdquo ndash theseexperiences are made possible through videogame technology

Students of Scenic Arts at the Universityof Hildesheim in Germany created Projekt ARIEL or SturmMOD in 2008 using a lsquomodrsquo(or modification) to the engine that runs

the game Far Cry 1 e performance artproject allowed users to experience Prosperorsquosisland interacting with certain parts andexploring others Players could walk aroundan imaginative rendition of Prosperorsquos cell and witness or interact with elements of the playincluding diff erent characters like CalibanProspero and Miranda

Four days to savethe Danish court

Elsinore

Another Hamlet reference this timein LA Noire

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Shakespeare video games

SHAKESPEARE magazine 49

Gina Bloom at the University of Californiaat Davis is presently spearheading a projectthat will be demonstrated in the lobby of theStratford Festival theatre in Ontario Canadathis summere project Play the Knave AShakespeare Performance Videogame lets usersdesign a virtual performance space and thenperform a scene from a Shakespeare playinhabiting this constructed space with anavatar As a Davis insider explains ldquoWe use akinect motion capture camera to capture theuserrsquos skeletal data so that players use theirentire bodies to control their avatarrsquos gesturesonscreen all the while reciting the lines from

Shakespearersquos scenerdquo is literally immersesthe players in the scene

Shakespearersquos Globe eatre in Londontook another tactic regarding immersionin the production of the game HemmingsrsquoPlay Company Hosted on the Playgroundportion of the Globersquos website and thusaimed at an audience of children the gamehas players taking on the role of Hemmingsan Elizabethan bear who leads a troupe oftheatrical animals such as Kit the Cat Dekker

the Dog and Slye the Foxe turn-based game leads players through

the vagaries of Elizabethan theatre practicefrom patronage to lost props and the plagueBy the end of the game players must earnenough money to rebuild the Globe after itburns down during a performance of HenryVIII

Also from Shakespearersquos Globe are twoinnovative video experiences created forchildren aged five to 11 e first Exploring

Shakespeare features two boys on a tour ofthe Globe theatre who sneak off to explorebackstage e video illustrates four plays

using short animations that are keyedto things the boys find backstage etechnology combines live action film andanimation to create an interactive touchablegame Filled with mini-games quizzes andinteresting facts about Shakespeare the gameallows players to click through the narrativeor to stop and learn more as they go along

e second video called Staging It usesthe same technology as the first film but thistime is for the 11-16 age group In this gamee Globe has filmed two actors performingfamous duologues from A MidsummerNightrsquos Dream and Macbeth on the Globestage Rather than shoot it once the actorshave performed their lines in diff erent ways(happy flirtatious defensive and so on)creating several diff erent clips per linePlayers can watch each of the clips and addtheir choice to a dynamic storyboard tobuild up their final scene Impressively theplatform allows for up to 1000000 diff erentcombinations of clips

Apps and Mini-GamesItrsquos when you start to look outside of therealm of popular video game platformslike Xbox or Playstation that Shakespeare

Silent Hill 3 Brush upyour Shakespeare ifyou want to survive

Hemmingsrsquo PlayCompany fromShakespearersquosGlobe

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Shakespeare video games

50 SHAKESPEARE magazine

really starts to pop up wherever you looke ubiquity of Shakespeare is especiallynoticeable when you start to look at apps andmini-games designed for phones and tablets

In 2012 Big Fish Games released aniPhone and iPad game called Hamlet that featured all the main characters ofShakespearersquos play but transposed them intoa save-the-princess narrative puzzle game A time traveller lands in Denmark andaccidentally kills Hamlet and so players mustcomplete his journey for him saving Opheliaand killing Claudiuse Shakespeareancontent is minimal and heavily adapted andyet it fits with the puzzle format in whichShakespeare tends to be found in videogamese Chronicles of Shakespeare Romeo amp

Juliet ande Chronicles of Shakespeare A Midsummer Nightrsquos Dream are lusciously-illustrated puzzle games for the PC In themplayers act as one of the characters from theplays gathering items and clues through aShakespearean environment

Among the literally thousands of appsrelated to Shakespeare that can be found forthe iPad or Android tablet are

e Shakespearean Insult Creator which generates invectives drawn from a wholly Shakespearean vocabulary So nexttime you want to call someone a jerk trysomething more like ldquoou fusty follyfallenfustilarianrdquo

e Shakespeare Translator whichtranslates ldquonormal English words and phrasesinto the words of Shakespeare himselfrdquo

e Shakespeare Fortune Cookie which provides short quotes from the plays

and a small trivia game Shakespeare or Die a game that

scrambles the words of famous quotationsfrom the plays and asks you to identify theplay and character who spoke the line If youmake a mistake however beware the witchesese apps are either explicitly games or

they are coming out of a game-like impulse tomake Shakespeare more accessible to everyone with an internet connection

Brave New WorldsIn a world where Shakespeare is an industrycounted in the millions of dollars per yearit is so easy to forget that Shakespearersquos playsare just that ndash playsere is a sense of joyand fun and happiness embedded in theexperience of watching them Games are oneof the ways that people over the centuries

have tried to recapture that elusive sense ofplayfulness within Shakespeare So it makesperfect sense that now with the advent ofdigital technologies Shakespeare is movinginto the digital world with a vengeance

From big studio games likee ElderScrolls to small apps that can be downloadedfor free from talking bears to immersiveperformance experiences Shakespeare iseverywhere in video games Rather than beingan undiscovered country into which the Bard

is only just beginning to emerge games havein fact engaged with Shakespeare and his works for hundreds of years And they willprobably continue to do so for hundreds ofyears to come

rsquoSpeare is a scrollingarcade-stylegame with addedShakespeare trivia

Hamlet is aShakespeare-themed puzzle fromBig Fish Games

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Meet thy makers

Helen Mears fell into bardolatryduring her teenage years and has

never recovered She is a volunteersteward at Shakespearersquos Globe

which ensures a regular diet of theBard She teaches English Film andMedia at Suffolk New College and isa specialist in teaching Shakespeareusing active methods Her favouriteShakespearean actor is Jamie Parker

and her favourite plays are the SecondHistory Tetralogy She hopes to

finish her Masters in the AdvancedTeaching of Shakespeare very soonFind her on Twitter hipster_hels

Paul F Cockburn is an Edinburgh-based freelance magazine journalist who specialises in writing about

arts and culture equality issues andpopular science Hersquos sufficiently

grey-haired for his English Literaturetraining to have sort of overlapped

with The BBC Television Shakespeareproject saving at least some of the

plays from death by academiaFind him on Twitter paulfcockburn

Jen Richardson first fell in love withShakespeare as a 15-year-old schoolgirl

ldquoHe got under my skin and hersquos still theretodayrdquo After training with a Manchester-based drama tutor she went on to pursuean acting career Drama remains a greatinterest but her focus is now on sharing

her passion for Shakespeare throughher writing In her spare time Jen is

generally down in Stratford-upon-Avonsitting on her favourite bench behind

Holy Trinity ChurchFind her on Twitter The_JenJen

Andrew Bretz is a sessional instructorof English Literature and Drama

specialising in early modern dramaHe has taught at Wilfrid LaurierUniversity the University of Guelph

Brock University and McMasterUniversity For the past two years he

has taught a special summer intensiveat Ontariorsquos Stratford Festival His PhDdissertation was on the representationof sexual violence on the early modern

stage Find him on TwitterAndrewBretz001

Just some of the contributors to this issue of Shakespeare Magazine

Rosalind Lyons is a painter whohas exhibited widely in both mixedand solo shows with work in UK

and international private collections A life-long love of Shakespeare isreflected in many of her paintings

and a particular recent focus isShakespearersquos Globe theatre where shespent a period as artist-in-residenceShe is currently studying for a PhD

in Painting and ShakespeareanTheatre at Anglia Ruskin University

in CambridgeFind her on Twitter roslyons

52 SHAKESPEARE magazine

Contributors

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Page 6: Shakespeare Magazine 08

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Benedict Cumberbatch

6 SHAKESPEARE magazine

BigBen

ldquoHow weary stale fl at and unpro fi table

Seem to me all theuses of this worldrdquo [I 2]

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Perhaps the quintessentially English actor

Benedict Cumberbatch is taking on the

quintessentially English poet and playwright

William Shakespeare His new Hamlet

is the fastest-selling production in London

history but which other Shakespeare roles

has Benedict played And how does he feel

about tackling The Big One

Words Helen Mears Photos Johan Persson

Benedict Cumberbatch

SHAKESPEARE magazine 7

Lyndsey Turnerrsquos 2015production of Hamlet

features striking setdesigns by Es Devlin

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Benedict Cumberbatch

8 SHAKESPEARE magazine

and Romeo and Juliet playing Orlando andBenvolio respectively

Shakespeare does not feature again inCumberbatchrsquos CV Instead he worked his way through acclaimed TV work such as hisportrayal of Steven Hawking in 2004 bio-drama Hawking and his role as the troubledartist Vincent Van Gogh in 2010rsquos VanGogh Painted with Words and film roles in Atonement (2007) and The Other Boleyn Girl (2008) before breaking big in 2010 with theBBCrsquos Sherlock The programme was a world- wide success and propelled Cumberbatchonto the acting A-list Since then he hasfeatured in Star Trek Into Darkness (2013) 12Years a Slave (2014) and two of the Hobbit films (2013-14) in which he voiced thedragon Smaug He also made a huge successof The Imitation Game (2014) in which heplayed codebreaker Alan Turing

Now Benedict is returning to Shakespeare with vengeance with two major roles on

stage as tragic hero Hamlet and on BBCTV as arch-villain Richard III in The HollowCrown The Wars of the Roses A taster came inthe BBCrsquos Lifetime of British Drama promo where he beautifully recites the Seven Agesof Man speech from As You Like It over clipsfrom classic BBC dramas past and present

Incredibly Cumberbatch is himself adistant descendant of Richard III The actorread Carol Ann Duffyrsquos specially-composedpoem lsquoRichardrsquo at his ancestorrsquos re-interment

at Leicester Cathedral in March 2015 Hefelt honoured to have been involved and itseemed particularly apt that he was filmingthe role of Richard at the time of thishistoric event ldquoHaving just played his verydifferent Shakespearean characterisationrdquo

Benedict will beseen as Richard IIIin the second cycleof the BBCrsquos The

Hollow Crown

B enedict Cumberbatchrsquos professionalrelationship with Shakespeare began early inhis career back in 2001 He appeared in theNew Shakespeare Companyrsquos productions inRegentrsquos Park playing the King of Navarrein Loversquos Labourrsquos Lost and Demetrius in A Midsummer Nightrsquos Dream As he told Whatrsquos

On Stage in 2005 ldquoThey were my first twoprofessional roles in the theatrerdquo In theinterview he also stated that Shakespeare was his favourite all-time playwright Thispresumably influenced his decision to returnto Regentrsquos Park in 2002 for As You Like It

ldquoYou wouldnrsquot look twice at Richard Hersquos avery dangerous charming powerful manrdquo

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Benedict with MartinFreeman (left) in theBBCrsquos Sherlock

Rehearsals forHamlet July 2015

Benedict Cumberbatch

SHAKESPEARE magazine 9

he commented ldquoI was intrigued to see whatthe real historical event would be like andto be a part of this extraordinary moment ofremembrance Then what really sealed thedeal was this beautiful poemrdquo

Benedict feels that the discovery ofRichardrsquos remains has changed peoplersquosperceptions ldquoI think the debate in historicaland archaeological terms about the reality ofhim and his kingship is whatrsquos extraordinaryto witness nowrdquo

He also recognises the perilous appealof Shakespearersquos Richard ldquoYou wouldnrsquotlook twice at him necessarilyrdquo he said ldquobutonce he had you in his beamhellip Hersquos a verydangerous charming powerful manrdquo

Cumberbatch was boldly instrumentalin Dame Judi Denchrsquos appearance in TheHollow Crown The Wars of the Roses Heattended a Shakespearean workshop eventat which the veteran actress was appearing When the audience were asked if they hadany questions he leapt into action askingldquoWould you like to be in Richard III withmerdquo Dame Judi naturally accepted

And fans of Sherlock will already knowthat Andrew Scott who played criminalmastermind Moriarty will also be appearing

in The Wars of the Roses as the French KingLouis

But itrsquos Cumberbatchrsquos run as Hamlet

at Londonrsquos Barbican that is arguably the Shakespeare event of 2015 It sold out inrecord time (although the venue promisethat day tickets will be available for eachperformance) as fans worldwide foughtfor their chance to see Benedict play theDane It is clearly the fruition of a dream forCumberbatch Indeed when asked at 2012rsquos

Cheltenham Literary Festival which play he would choose if he could only perform onemore stage role he opted for Hamlet ldquoEveryactor wants to have a go at itrdquo he said ldquoand I want to have my go at it and I will But wersquore working out when and howrdquo

Well the ldquowhen and howrdquo is right nowBenedict Cumberbatchrsquos career has come fullcircle from his first professional performanceof Shakespeare to playing his dream role Ifyoursquore lucky enough to have a ticket yoursquoll

be witnessing the most talked-about andfeverishly-anticipated theatrical event in yearsIf not therersquos always those queues for daytickets Wersquoll see you there

Hamlet runs at the Barbican Theatre

London until 31 October

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Shakespeare On Sale

SAVE 25 Since 1941 Dover Publications has built its reputation by offering remarkable books at

amazing prices Discover our fine catalog of the works of William Shakespeare

The complete collection of comedies historiesand tragedies all in compact 5rdquo x 8rdquo unabridgedpaperback editions The lowest-priced editionsavailable for todayrsquos educators students actorsand Shakespeare lovers of every kind

Complete and unabridged text of a play plus acomprehensive study guide with scene-by-scenesummaries explanations and discussions of the plota question-and-answer section and more

Calla Editions reg Books of Distinction for the Contemporary Bibliophile

Our premium imprint features impeccable hardcover reproductionsof some of the most beautiful books ever published Filled with

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To SAVE 25 Click Here

NO minimum order required bull Use CodeWLA2 at checkout bull Expires 123115

P l u s M or ehellip

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G A L L E R Yamp R E V I E WFor a generation of Cumberbatch fans lsquoBenedict at the Barbicanrsquo is the

most sensational and controversial Shakespeare production of a lifetime

Images Johan Persson Words Liz Barrett

Hamlet

ldquoTo be or not to be ndashthat is the questionrdquo[III 1] Controversially the playrsquos most iconicspeech was moved to the beginningAs we went to press however thisdecision had apparently been reversed

Benedict Cumberbatch

SHAKESPEARE magazine 11

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Benedict Cumberbatch

12 SHAKESPEARE magazine

ldquoA villain kills my father and for thatI his sole son do thissame villain sendTo heavenrdquo [III 3]

ldquorsquoTis in mymemory lockrsquod And you yourself

shall keep the key of itrdquo[I 3] Ophelia (Siacircn Brooke)

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Benedict Cumberbatch

SHAKESPEARE magazine 13

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Benedict Cumberbatch

16 SHAKESPEARE magazine

ldquoAnd yet to me whatis this quintessence

of dustrdquo [II 2]

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Even more than London there

is one place above all that is

green and pleasant landhellip

Words Helen Mears

Pictures Helen Mears and Susan Braund

Stratford-upon-Avon

SHAKESPEARE magazine 19

W e could be in any smallpicturesque Englishtown with its medievalchurch half-timberedTudor buildings shops

restaurants and delightful riverside walksBut Stratford-upon-Avon is not just any

town Itrsquos one of the best-known most- visited and probably most-loved locations inEngland Thatrsquos because itrsquos the birthplace of William Shakespeare Itrsquos also the place heseems to have considered his home After allShakespeare grew up there went to schoolthere and spent his final days there

So here is Shakespeare Magazinersquos on-the-ground guide to Stratford-upon-Avon Hereyoursquoll find hints and tips for first-time visitorsand returning aficionados alike What to see

the best ways to see it where to stay where toeat and how to get around while yoursquore there Are you ready Then letrsquos start our tourhellip

The BirthplaceSurely the must-visit spot for any self-respecting Bardolator this is where it all beganndash the six-roomed Merchantrsquos House on HenleyStreet where in April 1564 Mary Shakespeare wife of glover John gave birth to their famousson Williame house is approached

HOME

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20 SHAKESPEARE magazine

through the Shakespeare Centre on the left-hand side of the Birthplace A short exhibitionshows you items such as a prized First Folioand the foot of Stratfordrsquos Old Market Cross

from where glover John Shakespeare wouldhave sold his wares A walk through the gardens leads to

the house itself You enter through theself-contained annexe where William and Anne Shakespeare spent the first years oftheir married life and where their childrenSusannah Judith and Hamnet were born eannexe was later occupied by Williamrsquos sister Joan You can walk through the parlour andthe dining room to Johnrsquos workshop where heproduced gloves and other leather goods

A staircase leads to two bedrooms onefor the girls one for the boys and a loft spaceis visible where the apprentices would haveslept Finally you reach the birth room themain bedroom in which William and his sevensiblings were born

Guides are on-hand in all rooms to tell youtheir history and other gems of informationComplete your visit by watching classicShakespearean speeches performed in thegarden by resident acting troupe Shakespeare

Aloud and then picking up some souvenirs inthe gift shop and excellent bookshop

e five house ticket is the best value givingyou entry to all of the properties (HarvardHouse is a current alternative to New Place)and allowing you to view Shakespearersquos Gravein Holy Trinity Church

The Avon and Boat trips A walk along the Avon is a must in any seasone gentle stroll from the RSC to Holy Trinity

Church will take you past drooping willowssmoothly sailing swans and green parklandFor a diff erent perspective on the town you cantake a boat trip along the river itself Startingfrom near the RSCeatre you cruise gentlydown to the church where Shakespeare wasbaptised and buried before turning back andheading past the theatre and under CloptonBridge Itrsquos a bridge that William himself would have known built as it was around1480 e Avon is very pretty everywhere

you look are the incredible tame (and alwayshungry) swans and picturesque houseboatse banks are lined with weeping willows that just might have been the inspiration for poorOpheliarsquos watery end in Hamlet If you wouldrather take a slower self-driven trip there arerowing boats canoes and small speedboatsfor hire Beware though these are not aseasy to control as they look and you may wellspend a good proportion of your allottedtime relearning how to row and avoiding

Stratford-upon-Avon

The birth roomat ShakespearersquosBirthplace

Molly fromShakespeare Aloudin the Birthplacegarden

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SHAKESPEARE magazine 21

other hapless river tra ffic Boat trips typicallylast for around 40 minutes and are especiallypleasant in the late afternoon when the sun setsslowly behind the church steeple For addedluxury you can take a restaurant cruise where

afternoon tea or an evening meal are served onboard or as a quicker cheaper alternative youcould take the chain ferry across the Avoneferry dates from 1937 and is the last of its kindin the UK

Nash House and New Place

As well as the Henley Street property theShakespeare Birthplace Trust care for fourother locations in and around Stratford allassociated with Williamrsquos family Nash House

and New Place were adjoining propertieseformer was the home of Judith Shakespeareand her husband while the latter was thefamily home that William purchased in 1597at the time the second most expensive housein the town Sadly it was demolished by asubsequent owner but the Trust are currentlyundertaking a massive renovation of the siteis means that the properties will not be opento the public until 2016 to coincide with the400th anniversary of Shakespearersquos death

Hallrsquos Croft

A brief walk from New Place will take youto Hallrsquos Croft the home of SusannahShakespeare and her husband the physician John Hallis is an interesting property in its

own right and is partly set up to show how apractising physician would have worked at thetime A special mention too must goe Arterthe award winning independent craft shopadjoining the building and to the beautifulgarden in which open air performances ofShakespearersquos plays are sometimes performed

Stratford-upon-Avon

Holy TrinityChurch viewedfrom the Avon

Nash House andNew Place

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22 SHAKESPEARE magazine

Anne Hathawayrsquos Cottage A short distance from Stratford is Shottery where you can find the beautiful cottage

which was the home of the Hathaway familySet in yet another lovely garden this is thehouse in which Anne Hathaway grew upand was courted by the young William JohnShakespeare served with Anne Hathawayrsquosfather on the town council so their childrenprobably knew each other from a young agee family remained associated with thecottage for several centuries and have spunmany a yarn about the young lovers theveracity of which are highly questionable

However the stone floor of the kitchen isoriginal and we know that William must have walked those stones many many times

Mary Ardenrsquos Farme last of the Shakespeare properties is Mary Ardenrsquos Farm Shakespearersquos mother lived hereand itrsquos where she probably took the infant William when plague broke out in Stratfordshortly after his birth Open from March toNovember only the farm is run as a working

Tudor farm with costumed guides caring forthe buildings and the animals Itrsquos a great placefor a family day out with plenty to see and doand numerous activities runningere are

daily falconry shows archery animals to feedand games to play You can even treat yourselfto a genuine Tudor meal in the cafe ndash pottageand home-baked breads are a speciality

What if you donrsquot have a care town itself is fairly small and all themain attractions are within walking distanceHowever the easiest way to get around and toenable a visit to Anne Hathawayrsquos Cottage andMary Ardenrsquos farm is to the Hop On-Hop Off City Sightseeing busis will take you to allthe main town locations and also to Shotteryand Wilmcote A day ticket will give youunlimited access to the buses and allow you tovisit all of the Shakespeare properties e buscan be picked up by the statue of Touchstonethe jester at the top end of Henley Street

Walking Tours Another excellent way to see the main sites ofStratford and to learn some of the historicaltales of the town is to take a walking tour

Stratford-upon-Avon

Anne HathawayrsquosCottage

Mary Ardenrsquos Farm

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ere are several options depending on thetype of tour yoursquod likee town guides runhistorical tours of the town every day (yesevery day) of the year For those who like to be

a bit more daring there are evening ghost walksled by costumed guides who will tell you someof the spooky tales of Stratford Both of thesetours start from the Swan Water Fountain onthe riverside

Or if you like the idea of being guidedby Shakespeare himself on a Saturday (andMonday to Saturday through the summerholidays) there are town walks led by the manhimself (or someone who looks an awful lotlike him)ese run from Tudor World onSheep Street an interesting museum in thehouse that belonged to the man who wasallegedly the model for Sir John Falsta ff

Holy Trinity Church Another must-see is the townrsquos 13th centurychurch with its distinctive spire that dominatesthe view from the river Remember that if youhave a ticket to the Birthplace properties yourvisit to the grave is free e church is famousfor being where William Shakespeare wasbaptised on 26 April 1564 e old font that

was used for the baptism is displayed in thechancel along with copies of both the registerof baptism for April 1564 and the register ofburials for April 1616 where Shakespearersquosname can be clearly seen Also in the chancelin front of the altar are the Shakespeare familygraves Williamrsquos bears its infamous curse

ldquoGOOD FRIEND FOR JESUSSAKE FOREBEAR

TO DIGG THE DVST

ENCLOSED HEREBLESTE BE YE MAN YT SPARESTHESE STONES

AND CURSED BE HE YT MOVESMY BONESrdquo

On the wall above the grave is the effigy of

Shakespeare Itrsquos one of the few images which was produced within the lifetime of AnneShakespeare and probably one of the mostauthentic likenesses of her husband

The Guildhall and King EdwardrsquosSchoolDirectly opposite the site of New Place standthe Guildhall and the townrsquos old grammarschool Both of these places have links to theShakespeare family King Edwardrsquos Schoolis where the young William is believed tohave studied and itrsquos probably where hefirst encountered the classical texts which soinspired him As the son of a town councillorhe would have been entitled to a placee

old school is sometimes open to visitors at weekends or during the holidays but theschool has just won a lottery grant whichshould enable them to open it as a permanentattraction e Guildhall was sometimes hostto groups of travelling players and so it couldbe the site where young William first sawtheatrical performances It is widely believedthat John Shakespeare owing to his role astown bailiff was responsible for supervising the whitewashing of the medieval Doom Painting

Stratford-upon-Avon

SHAKESPEARE magazine 23

The GuildhallDoom Painting

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24 SHAKESPEARE magazine

Stratford-upon-Avon

is has been recovered and is now once againvisible above the chancel arch

The Royal Shakespeare CompanyTheatre and the riversidee riverside park is home to several interestingsights It is from here that you can get a view ofthe Clopton Bridge pick up a river cruise feedthe swans and admire the Gower Memoriale memorial was presented to the town in1888 and features a statue of Shakespeareseated upon a plinth overlooking statues offour of his best known charactersese areHamlet Prince Hal Sir John Falsta ff and Lady

Macbeth who represent Comedy HistoryPhilosophy and Tragedy Closer to the theatreis the beautiful Swan Water Fountain unveiledin 1996 If you see the water frothing fear notit seems to be a sport amongst local youngstersto fill the fountain with washing up liquid on aregular basis

e Royal Shakespeare Companyeatre was built in 1932 but has recently undergonea complete refurbishment in both the mainand the Swan theatres e building reopened

in 2010 with both theatres having beenconverted to boast thrust stages and curvedgalleries similar in shape to the originalElizabethan playhousese world renowned

Royal Shakespeare Company performshere throughout the year staging plays byShakespeare and his contemporaries as well asby newer authors ey also run an educationprogramme exhibitions family activitiesduring the school holidays and theatre toursTo see Stratford from an entirely diff erentangle take the lift up the 36 metre high towerfor spectacular views across the town

Where to eat and drinkStratford has an excellent range of eateriesto suit all tastes and budgets ere is pubgrub afternoon teas world cuisine finedining pizza pasta and fish and chips Manyrestaurants off er pre-theatre menus and ifyoursquove been on a town walk you may find thatyou can get discount vouchers for your foodere are many pubs in Stratford including theGarrick Inn the oldest pub in the town whereyou can taste the Shakesbeer specially brewedto celebrate Shakespearersquos 450th Birthday in2014 If you want to spot RSC cast members

relaxing after their showse Dirty Duck on Waterside is the place to drink

Where to stay Again Stratford-upon-Avon has a good varietyof hotels bed and breakfasts and holidayhomes All the main chains have hotels inthe town from budget brands to the luxurynamesere is an excellent choice of bedand breakfast establishments in and aroundthe town again these will suit all tastes and

budgets Airbnb also has an interesting rangeof rooms flats and houses to rent in StratfordHowever be sure to book early especially forthe prime summer months

The Shakespeare Birthplace Trustwwwshakespeareorguk

The GowerMemorial Will andPrince Hal

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M

any places around the worldhave been named afterStratford-upon-Avon thebirthplace and home of William

Shakespeare And many of those Stratfordsare home to theatre festivals of varying sizesStratford in the state of Victoria in Australiahas an annual Shakespeare festival still goingevery year while Stratford in Connecticut inthe USA had a major theatre from the mid1950s to the mid 1980s Stratford Ontarioin Canada however stands out among thesetowns and festivals not merely in scope but ininternational reputation and prestige

In 1950 Canada had no home-growntradition of classical theatre Certainly

Shakespeare was performed but there hadbeen a strong anti-theatrical movement inCanada throughout the 19th century whoseeffects still lingered throughout the first half ofthe 20th As a cultural icon Shakespeare wasedifying to be sure but certainly not to beperformed The Stratford Festival changed allof that for Canada

In the late 1940s the local newspapers andgovernment of the town conceived of the ideaof revitalising Stratfordrsquos sagging economy by

capitalising on the name of the town and its

long association with the Bard They bandedtogether and under the leadership of TomPatterson they brought over Tyrone Guthrieand Alec Guinness for the first season in1953 Guthrie had famously directed Gielgud

inHamlet

at Elsinore Castle in Denmarkand had been the manager of the Old Vic inLondon He wanted to create an acting spacethat echoed the original Globe theatre whereactors were surrounded by the audience incontrast to the proscenium arch theatres thatdominated the London and New York scenes

From the first performance which tookplace inside a giant circus-style tent on thebanks of the Avon River the festival workedto create a new aesthetic of Shakespeareanperformance The thrust stage of the FestivalTheatre designed by Tanya Moiseiwitschhas been recognised as one of the greatinnovations in stage design of the 20th centuryGenerations of actors have had to learn howto address an audience on three sides of themsometimes only an armrsquos length away

The festival has been central to the careersof Canadian actors such as ChristopherPlummer Martha Henry and even WilliamShatner Actors from the US and UK havesought to play the festival as well including

Peter Ustinov Christopher Walken and JessicaTandy Indeed these international stars notonly lend credibility but have indelibly markedthe festival For instance Maggie Smithrsquosperformance as Rosalind in As You Like It inthe 1977 and 1978 seasons is legendary in thecompany and the town

Today the festival has expanded to includemultiple performance spaces a theatre schooluniversity accredited courses and the largesttheatrical costume shop in North America

It has started countless careers inspiredcompanies such as Torontorsquos SoulpepperTheatre and helped shape the Canadiantheatre landscape for over 50 years

Stratford Festival ndash Ontario Canada

wwwstratfordfestivalca

MEANWHILE

IN CANADATherersquos more than just one Stratford you knowAnd the one in Ontario Canada has a world-renownedShakespeare Festival gives us a tour

Stratford Ontario

SHAKESPEARE magazine 25

ldquoFrom the fi rst performancethe Festival worked tocreate a new aesthetic ofShakespearean performancerdquo

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Planning to performa short selection

from Shakespeare

The 30-Minute Shakespeare

Anthology contains 18 abridged

scenes including monologues from

18 of Shakespearersquos best-known plays

Every scene features interpretive stage

directions and detailed performance

and monologue notes all ldquoroad testedrdquo

at the Folger Shakespeare Libraryrsquos

annual Student Shakespeare Festival

THE 30-MINUTE SHAKESPEARE is an acclaimed series of abridgments that tell the story of each play while keeping the beauty ofShakespearersquos language intacte scenes and monologues in this anthology have been selected with both teachers and students inmind providing a complete toolkit for an unforgettable performance audition or competition

NICK NEWLIN has performed a comedy and variety act for international audiences for more than 30 years Since 1996 he hasconducted an annual teaching artist residency with the Folger Shakespeare Library in Washington DC

The 30-Minute Shakespeare series is available in print and ebook format at retailersand as downloadable PDFs from 30MinuteShakespearecom

The 30-Minute Shakespeare Anthology

includes one scene with monologue

from each of these plays

ldquoLays the groundwork for a truly fun and sometimes magical

experience guided by a sagacious knowledgeable and intuitive

educator Newlin is a staunch advocate for students learning

Shakespeare through performancerdquo mdashLibrary Journal

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Roaslind Lyons

28 SHAKESPEARE magazine

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For UK artist Rosalind Lyons the Bard is a

constant presence in her creative life She tells

us how Shakespeare inspired the haunting and

dreamlike works that adorn these pages

Words and paintings by Rosalind Lyons

Rosalind Lyons

SHAKESPEARE magazine 29

Left TheRoaring Boys

PAINTINGSHAKESPEARE

S hakespeare has long been at the heart ofmy work sometimes directly and obviouslyin the subjects and often in the titlesBut always Shakespearersquos words charactersand stories are there in my head when Iam painting ndash a perpetual conscious andunconscious presence

My style echoes that of the Renaissancepainters and Elizabethan portraits andthese influences combined with a life-long love of Shakespeare made my firstvisit to Shakespearersquos Globe pivotal Iexperienced a powerful sense of connectionand recognition Here suddenly ideasand themes with which I had been so longpreoccupied were brought to life

I subsequently gained access to theGlobe to draw and later spent some time

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as Artist in Residence thereat experienceprompted more in-depth exploration notonly of Shakespeare and painting but of therelationship between painting and theatreere are of course the strong visualconnections ndash both are spaces for spectacleand illusion But also compelling ideas oftransformation imagination storytelling andidentity And overall the theme of ambiguitye blurring of boundaries between realityand fiction male and female light andshadow past and present I am fascinated byhow we respond to history how we re-presentand re-imagine the past And the figures inmy paintings are imagined as belonging toboth now and then ndash flitting back and forthacross the threshold between past and presentbetween Shakespearersquos time and our own

modern worldI have painted some specific characters

from Shakespeare but many subjects ofmy paintings are anonymouse figuresare unknown their place purpose role is amysteryis anonymity is unsettlingereare clues in the setting in the costumes ndash orperhaps I should just say in the clothes theyare wearing ndash but the context is not obviousI am fascinated by the dramatic convention ofcross-dressing ndash and particularly the inherent

confusion as with Rosalind ( As You Like It )and Viola (Twelfth Night ) in the idea of aboy playing a girl playing a boy Many of thecharacters I invent are androgynous theirgender and age uncertainis ambiguityof identity interests me in the context ofvisual illusion and theatrical transformationthe idea of inbetween-ness and somethingunresolved

Like theatre my paintings are concerned with inventing characters and the creation

Right No MoreYielding But A

Dream

Roaslind Lyons

30 SHAKESPEARE magazine

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of an imaginary world and I am particularlyattracted to the fools fairies and witchesIn A Midsummer Nightrsquos Dream the fairiesrsquoactions may seem malevolent or benign or just mischievous but there is definitely a dark

side an underlying sense of threate Fool too is intriguing Shakespearersquosfools frequently describe themselvesor are referred to as a nobody but areunquestionably much moree fool is anoutsider concerned with but at the same timeseparate from the story He ndash or sometimesshe ndash doesnrsquot quite belong anywhere butseems to exist on the boundary between thefamiliar and the uncanny

I am attracted to the strange to mysteryand shadows and try to express through myimages a strong feeling that it could be thator maybe something else As Orsino says atthe conclusion of Twelfth Night ldquoA naturalperspective that is and is notrdquo While makinga painting and even when it is finished Idonrsquot know really who my characters are ndashthey remain elusive But I like not knowingand ultimately meanings always change anddepend on individual perceptions

My experience at the Globe led to aparticular fascination with the ambiguous and

protean quality of the theatrical performerhow their identity transforms and fluctuatesI was attracted by this when watching

Rosalind Lyons

SHAKESPEARE magazine 31

Above A MidwinterNightrsquos Dream

Right Three Fools

Far right FollowingDarkness

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rehearsals observing actors shift between selfand impersonation between diff erent realitiesand identities When they are not acting theyndash metaphorically and often literally ndash melt

into the shadows I am interested too in thephysical and symbolic threshold between lsquoonrsquoand lsquooff rsquo-stage the transformation inherentin an actor moving from the wings onto thestage assuming another self and anotheridentity Particularly evocative is the fact thatactors were colloquially known as shadowsin the Elizabethan playhouses ndash suggestingsomething unknowable and insubstantialIn the Prologue to Henry V Shakespeare hasthe Chorus describe the players as lsquociphersrsquoimplying deception and secrecy

Artists in the past who have tackledShakespeare have generally produced imagesthat directly illustrate the text or representfamous actors or scenes from a particularperformance Today as well as on the stageShakespearersquos plays are frequently re-imaginedin very successful film and TV adaptationsbut I have struggled to find more than ahandful of contemporary fine artists whohave engaged with Shakespeare on any levelPerhaps Shakespeare as a subject is seen

by some as too traditional too lsquopopularrsquoor simply just too lsquooldrsquo But in the theatreand in literature there is an ever-increasingenthusiasm for innovative interpretationsof the plays and for me Shakespeare is aconstant inspiration

e Prologue of Henry V also urges theaudience to ldquoPiece out our imperfections withyour thoughtsrdquo to liberate the imaginationand create another kind of reality to shapeour own fantasies within the ldquowooden Ordquo of

the theatre In my paintings I endeavour todo the same

Explore the work of Rosalind Lyons atwwwrosalindlyonscom

Above These Two CreaturesBelow Therersquos Magic In Thy Majesty

Roaslind Lyons

32 SHAKESPEARE magazine

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$amp( ) +-01

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Aidan OrsquoReilly

34 SHAKESPEARE magazine

Looking forRichard AidanOrsquoReilly is playingShakespearersquosbaddest monarch

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Aidan OrsquoReilly

SHAKESPEARE magazine 35

You are legally blind having been

diagnosed with retinoblastoma as an

infant How did this impact on your

acting aspirations and early career

ldquoMy parents did a good job raising me Inever grew up thinking of it as a handicap orthinking it could hold me back from what I wanted to do I couldnrsquot play sports at all soI think my parents were grateful that I hadsomething that I was passionate about from avery young age

ldquoI went to a public elementary school with a program designed for the blind so itfelt very natural for me to be the way that I was And acting has always been part of thatrdquo

You went to RADA in London Was

there a reason why you wanted to

train in England and not in the US

ldquoItrsquos always been an ambition of mine to

travel as far and wide as possible Also myhero growing up was Peter OrsquoToole ndash Iread his autobiography in high school andlearned he had gone to RADA and decided I wanted to go there too So I auditioned therenot knowing that RADA is arguably thebest drama school in the English-speaking world Consequently I was quite relaxed atthe audition which is probably why I gotin My ignorance can sometimes serve me well Going to RADA was a life-changing

Aidan OrsquoReilly is an actor with an

inspiring story Legally blind since he

was six months old he forged a passionfor drama at an early age Aidan went

on to gain a BA with honours from

Londonrsquos Royal Academy of Dramatic

Art before touring for three years with

the American Shakespeare Center

In 2012 Aidan was diagnosed with

sarcoma a rare cancer He bounced

back in 2014 after intensive treatment

and is now cancer-free We spoke to

Aidan as he prepared to play the title

role in Richard III for Californiarsquos Marin

Shakespeare Company We asked himto share his story and to give us his

take on one of Shakespearersquos most

fascinating characters

Interview by Jen Richardson

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Aidan OrsquoReilly

36 SHAKESPEARE magazine

experience I was lucky enough to havecontact with brilliant professors and Irsquom stillin awe of the students I went to school withI wouldnrsquot trade that experience for anythingrdquo After graduating from RADA you

went on the road with the American

Shakespeare Center Tell us a bit

about that

ldquoThat was one of the happiest times of mylife In many ways I got spoiled I was a working actor 11 months out of the yeartouring nationally seeing parts of the USI had never been to before doing plays Iloved and working with directors who werevehemently faithful and respectful to the text When I wasnrsquot on the road I was in residenceat the Blackfriars Playhouse in StauntonVirginia with many extraordinary actorsI was very lucky to be thererdquo

Three years ago you were diagnosed

with sarcoma How did you

overcome this enormous challenge

and return to the stage in 2014

ldquoThe only reason Irsquom still alive is because ofmy mother Lily and my wife Jocelynn AlsoI was fortunate that we caught it before it hadspread and it was on my leg and away fromany major organs

ldquoI am very grateful for my team of doctorsat UCSF who did an incredible job in mytreatment and follow-up care Irsquom glad to beback to workrdquo Yoursquore now due to play Richard III

with Marin Shakespeare Company

Howrsquos it going so far

ldquoAt this point Irsquom in the paperwork stage

of things A lot of reading the HenryVI s biographies of Richard as well asperformance history of the play itself Irsquomdoing a fair amount of limping around myapartment as well I canrsquot wait to get intorehearsals next weekrdquo Tell us about Marin Shakespeare

Company and what appealed to you

about working with them

ldquoRobert and Lesley [Currier MSCrsquos Artistic

Director and Managing Director] arefascinating people Their intelligence andhumour is contagious Without questionthere is a lot to be learned from themrdquo Richard IIIrsquos remains were discovered

in 2012 and reburied this year Is all

the new information about Richard

influencing your portrayal

ldquoYes and no My job isnrsquot to play the historicalRichard but the Richard that Shakespeare has

Aidan believesthat Richard IIIrsquosobsession withcontrol is whatcauses his downfall

ldquoPeter OrsquoToole wasmy hero He went to

RADA so I wanted to go there toordquo

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Crowning gloryAidan with MarinShakespearersquosRobert Currier

created Itrsquos helpful to know the facts of thesituation in order to gain insight into whathas been changed in Shakespearersquos versionof events

ldquoI met with a friend of mine who is a

retired surgeon who walked me through themedical information that has come to lighton Richardrsquos body and I will certainly usethat to inform my physical choicesrdquo Unlike many actors yoursquore the right

age to play the historical Richard III

Do you feel Richardrsquos relative youth

has been overlooked

ldquoI do Richard is a young man who believeshe is hardened by the experiences he andhis family endured during the War of theRoses and believes himself to be beyondhuman emotions and the lsquorestrictionsrsquo of aconscience He isnrsquot He pays the bill for thehorrible things he does That lack of self-knowledge is not exclusive to youth but I feelit makes him more sympathetic and relatableto an audiencerdquo Some people think Richard III shows

Shakespeare delivering a highly

effective piece of Tudor propaganda

Where do you stand on thatldquoI think Shakespeare has a soft spot foroutsiders and underdogs Although his playssometimes work within the confines of thebiases of Elizabethan society he canrsquot help butmake his lsquovillainsrsquo fascinating human beings

For as horrible as Richard is itrsquos amazing tosee how audiences relate and respond to himrdquo Which other important themes do

you feel Shakespeare deals with in

the playldquoThe history plays are full of extraordinarypeople who waste their lives and intelligence who sacrifice their humanity in pursuit of thecrown Itrsquos still happening today What is theattraction of power Richard never pauses tothink of why he wants the crown or if hersquodbe any good as king Turns out hersquos not butitrsquos this bizarre obsession with control thatpropels him to kill everyone off thatrsquos in his way Itrsquos also fascinating that the one characterthat is consistently kind to Richard is hisfather York

ldquoI think an argument can be made thatRichard in his warped way is trying to liveup to the image he has of his father Ofcourse York is dead and gone by the timeRichard III begins but you can glean a lotabout Richardrsquos inner workings in the way hespeaks about his father Of course itrsquos foolishto try to answer questions that Shakespearedoesnrsquot and Irsquom not trying to say this solvesa mystery but I think itrsquos interesting Itrsquos only

an element itrsquos not the answerrdquo Richard III is listed as a historical

play in the First Folio but in the

quarto edition it is termed a tragedy

Which category would you put the

play in and why

ldquoI think of the history plays from Richard II to Richard III as one vast play an epic thatencompasses all the categories I think if youlook at Richardrsquos progression through those

plays you see a great mind warped by the War of the Roses and that certainly adds tothe tragic element I think of Richard III asthe final chapter of a great epicrdquo

Aidan OrsquoReilly stars in Marin ShakespeareCompanyrsquos Richard III from 4-27 September

Aidan OrsquoReilly

SHAKESPEARE magazine 37

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Scotland Shakes

SHAKESPEARE magazine 39

Bonnie Prince

Brian Fergusonas Hamlet in theCitizens Theatre

production Photoby Tim Morozzo

Billy William Shakespeare is undoubtedly Englandrsquos

Bard But how is he viewed north of the border

Our Caledonian correspondent surveys the state

of Shakespeare in Scotland and meets esteemed

outdoor theatre company Bard in the Botanics

Words Paul F Cockburn

T owards the end of May thisyear a BBC Scotland afternoon

news bulletin surprisinglyturned its attention to aforthcoming production of

ldquoone of William Shakespearersquos best lovedplaysrdquo ndash A Midsummer Nightrsquos DreamHowever this particular production wasnrsquotconsidered newsworthy because it came froman amateur group based in Dumfries andGalloway Not even that the CrossmichaelDrama Club were one of just seven amateurScottish groups taking part in the Royal

Shakespeare Companyrsquos Open Stages project which aims to help amateur companies

extend their repertoiresNo the lsquohookrsquo was how this newproduction was Shakespeare ldquobut no asyou micht ken itrdquo Because it had beenreimagined in Scots as A MidsimmerNichtrsquos Dreme

As it happens writer John Burns saysthat his principle reason for translating AMidsimmer Nichtrsquos Dreme was simply theintuition that it being in Scots would workto the benefit of the production ldquoItrsquos not

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Scotland Shakes

40 SHAKESPEARE magazine

so much that 16th century English canrsquot docertain things more that using Scots brings itcloser to a Scottish audience and to audiences who might think Shakespeare too fancyrdquo hesays ldquoI feel too that Scots can catch the sheerphysical power of Shakespearersquos language He writes lines you really feel physically when

you say them out loud My intention was touse Scots to produce a text that was actableand which would be accessible and enjoyablefor the audience and the Scots was a majorpart of thatrdquo

Arguably translating Shakespeare intoScots ndash viewed by many as a distinct languagefrom English ndash is just one way of finding thecontinued relevancies of Shakespearersquos writing with the here and now Certainly John Burns was keen to see if Scots ldquocould match the way

Shakespeare switches tonehellip from broad attimes bawdy humour to moments that aremore serious or even sinisterrdquo

Yet there is a wider perspective whether wersquore discussing translation into Scots orsaying Shakespearersquos words with a Scottishaccent Willy Maley and Andrew Murphyin their introduction to Shakespeare andScotland (published by Manchester UniversityPress in 2004) go as far as describing thetranslation of Shakespearersquos Macbeth into

Scots as ldquoa patriotic actrdquo not least becauseof ldquothe political commitment implicit intranslating from English to Scots reversing

the dominant dubbing practice infi

lmsrdquoGlasgow-based novelist and playwright Alan Bissett ndash who actively campaigned fora Yes vote during last yearrsquos IndependenceReferendum ndash has since written about howsince the 1970s Scottish theatre had ldquoadeep engagement with the shifting beastof Scottish politicsrdquo Although Bissett wasfocusing primarily on original works byScottish playwrights and directors itrsquos worthpointing out that Shakespeare ndash despite therebeing absolutely no evidence to prove he evertravelled north of Carlisle ndash has played hisown part in this

As Maley and Murphy point outldquoScotlandhellip never had precisely the samerelationship with the Bard as England hasbut has experienced a fraught process ofappropriation incorporation and resistancerdquoIn part this is because Shakespeare ndash in hislatter career ndash was among the first lsquoBritishrsquo writers Many of his later plays ndash Cymbeline King Lear even Hamlet ndash were produced

A tartan-cladAntipholus andDromio in Bard inthe Botanicsrsquo TheComedy of Errors

Brian FergusonrsquosHamlet CitizensTheatre productionPhoto by TimMorozzo

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under the patronage of Scotlandrsquos King JamesVI (aka James I of England) Each in theirown way can be said to touch on ldquothe matterof Britainrdquo the complex relationship between

the constituent elements of Jamesrsquos newlsquounitedrsquo kingdom which the Stuart monarch was determined to see joined into oneat never quite happened of course

Even after the 1707 Act of UnionScotland retained its own legal educationaland religious systems along with anaccompanying sense of Scottish identity ndash which survived even the height of the Britishempire Yet from the 1970s on there havebeen notable changes in how Shakespeareis treated by Scotlandrsquos producing theatrecompanies Several years ago GlasgowrsquosCitizenseatre delivered a powerful Romeoand Juliet in part because of their decision toset the action in a present-day sectarian Westof Scotland ndash with accents to match

ldquoEnglish-accented Shakespeare carriesa specific resonance in Scotland one thatdirectors usually choose to avoidrdquo pointsout Mark Fisher a freelance journalist criticand author of the forthcoming book How toWrite Abouteatre

ldquoIrsquom not sure exactly when attitudesstarted to change but Irsquod say the argumentin favour of Scottish-accented productionshad been pretty much won by the 1990sBy that time companies such as Raindogand directors such as Hamish Glen hadbeen making a point of casting very Scottishproductions of Shakespearerdquo

One example of how things hadprogressed even by 1992 was the late KennyIrelandrsquos production of A Midsummer

Nightrsquos Dream his first as Artistic Directorat Edinburghrsquos Royal Lyceum ldquoHe castthe mechanicals with Scottish accents andeveryone else with English accentsrdquo MarkFisher explains ldquois I said in my review wasa fundamental error ndash or some such phrasee message it sent out was that people withScottish accents were foolish figures of fun whereas people with English accents wereserious figures of respect

ldquoIreland reacted furiously to my review

and made the case that he had based thecasting of the mechanicals around (the actor) Andy Gray who has a Scottish accent Inother words the meaning I inferred hadnot been deliberate I think itrsquos true to sayhowever that Ireland never cast a Shakespearelike that againrdquo

Gordon Barr is Artistic Director of

Glasgow-based Bard in the BotanicsScotlandrsquos only professional Shakespearecompany (see following pages)

ldquoWersquove never gone out of our way tomake Scottish versions of these texts norhave we gone out of our way to have classicaltraditional voicesrdquo he says ldquoMost of our coreactors have made their careers up here so wethink of them as Scottish actors

ldquoat is important to us to not overlylook outwards for the acting company As

much as possible we work with people who are based in Scotland Wersquore regularlyproducing Shakespeare here and we want tobe a part of the training to ensure that there isa range of strong classical actors hererdquo

Citizens Theatrewwwcitzcouk

Owen Whitehawas the Fool andDavid Hayman asLear in CitizensTheatrersquos King Lear Photo by TimMorozzo

Scotland Shakes

SHAKESPEARE magazine 41

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Bard in theBotanicsrsquo As You Like

It takes Rosalind andOrlando into theopen air

ldquoTouring is something that we have wanted to do foryears but was somethingthat we could not afford

to do without fundingrdquo says Gordon Barr Artistic Director of Scotlandrsquos only professionaloutdoor Shakespeare festival Bard in theBotanics If therersquos any irony attached tothe companyrsquos first major tour of Scotland which took place in early 2015 itrsquos that theperformances of their acclaimed Romeo and Juliet ndash featuring a cast of five ndash were playedexclusively indoors

ldquoNobody is touring classical theatre in

Scotland at the minute so itrsquos importantto usrdquo Barr adds ldquoOur work is so muchabout accessibility One of the joys of beingoutdoors is that people come to see the work who wouldnrsquot buy a ticket for a theatre Ifyou can bring a picnic sit out on the grass while watching the show it feels easier moreaccessible But people canrsquot come from Thursoto Glasgow for a night just to see a productionof Shakespeare They should be able to see itin Thurso So that is kind of where the urge totour came fromrdquo

Bard in the Botanics has presented outdoorShakespeare within the grounds of GlasgowrsquosBotanic Gardens since 2003 This yearrsquoslsquoUnlikely Wondersrsquo season presented newproductions of Loversquos Labourrsquos Lost The Merchant of Venice Richard II and A Midsummer Nightrsquos Dream in lsquoreprsquo between24 June and 1 August

The companyrsquos founder Scott PalmerBarr explains had done a lot of his training atthe Oregon Shakespeare Festival one of the

biggest in North America ldquoWith the kindof drive and enthusiasm that only Americanshave he managed to convince the entire cityof Glasgow that outdoor Shakespeare would work and that the weather wasnrsquot going to be

a problemrdquoTwo years later Palmer moved on and Barr

ndash originally involved as a director ndash succeededhim as Artistic Director ldquoIf anyone then hadsaid that I would end up spending 12 yearsrunning an outdoor Shakespeare festival I wouldnrsquot have believed themrdquo he says in hisoffice hidden behind some of the Botanicsrsquogardening sheds ldquoI very quickly fell in love with it once I started working here Despiteall the trials and tribulations that outdoortheatre in Scotland brings with it therersquos just

something magical and special about it Itrsquos a very close-knit company and thatrsquos sort of keptus all here as long as we have beenrdquo

While the annual summer season ofShakespeare plays in the Botanics will remainat the centre of what the company does ndashldquoOtherwise Bard in the Botanics becomesa rather strange namerdquo ndash Barr is very much

Outof theGarden

This year has seen Glasgowrsquos Bard in the Botanicsdo something completely unexpected They wentout on a tour of ndash whisper it ndash indoor venueshellip

Scotland Shakes

42 SHAKESPEARE magazine

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Scotland Shakes

SHAKESPEARE magazine 43

focused on building on the touring side ldquoBecause it was our first ever tour we

did end up taking Romeo and Juliet to theestablished Scottish touring circuitrdquo he addsldquoIt takes a while to build up relationships with the smaller venues thatrsquos going to bean ongoing process for us Even so we weretaking Romeo and Juliet to places like Mulland Stranraer ndash communities and venues thathavenrsquot had a lot of classical theatre comingthrough themrdquo

The choice of play was deliberate too ldquoIt was a production that was ready to go whichhad received five star reviews and sold out itsextended run in the Botanics in 2012 So weknew that the work was good but therersquos nodoubt that for a first tour we wanted to makeit easier for the venues to sell it Most venuesknow they can find an audience for Romeo and Juliet rdquo

In time he hopes that audiences aroundthe rest of Scotland will come to trust the Bardin the Botanics name sufficiently to take on theless familiar plays

ldquoYou just donrsquot know how quickly acommunity is going to turn out for Henry IV yetrdquo he says ldquoHopefully three or four toursdown the line theyrsquore going to turn out forBard in the Botanics ndash and if it happens to be

Henry IV well thatrsquos greatrdquoGiven their reimagining of A MidsummerNightrsquos Dream as a 1920s burlesque musicalis there a particular Bard in the Botanicsapproach to Shakespeare

ldquoOur kind of unofficial motto is lsquoBe BoldBe Braversquordquo Barr says ldquoIf wersquore continuingto stage these plays around 400 years afterShakespearersquos death I think therersquos an urgencyto ask lsquoWhyrsquo It is important to questionlsquoWhat is the story that we want to tellrsquo I wantto see how these plays intersect with historyand todayrsquos society not to present museumpieces

ldquoItrsquos always with an eye to try to releasesomething thatrsquos within the textrdquo Barrinsists ldquoWersquore not remotely interested ininnovation for innovationrsquos sake The playsare masterpieces thatrsquos essentially why wersquorestill doing them 400 years later But to revealsomething thatrsquos unexpected or new thatrsquosimportant to usrdquo

Bard in the Botanics

wwwbardinthebotanicscouk

Rosalind and Audreyin the forest Bardin the Botanicsrsquo As You Like It

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Shakespeare at the Tobacco Factory stf 2016 Seasonco-production with Tobacco Factory Theatres

HAMLETBy William Shakespeare

Directed by Andrew Hilton

Main run Thu 11 February ndash Sat 26 March 2016

In repertoire with Allrsquos Well That Ends WellMon 25 ndash Wed 27 April Sat 30 April 2016

The most famous play in world drama Hamlet

turns a new face to every decade So many

elements - political madness sex murder ndash all

brought together in a drama that is both a thriller

and the profoundest meditation on our human

condition

ldquoThrilling workrdquo The Guardian on Romeo amp Juliet

ldquoBullseyerdquo WhatsOnStage on Romeo amp Juliet

Shakespeare at the Tobacco Factory Friends Priority Booking opens Wed 23 September 10am

wwwstf-theatreorguk

Tobacco Factory Theatres Members Priority Booking opens Wed 16 September 10am

wwwtobaccofactorytheatrescom

Public Booking opens Wed 30 September 10am

Tobacco Factory Box Office 0117 902 0344

ALLrsquoS WELL THAT ENDS WELLBy William Shakespeare

Directed by Andrew Hilton

Main run Thu 31 March ndash Sat 23 April 2016

In repertoire with Hamlet

Thu 28 ndash Fri 29 April Sat 30 April

A young woman using skills bequeathed herby her father saves the French Kingrsquos life and

is rewarded with the right to choose her own

husband But what if the chosen one wonrsquot play

the game How can she get him into bed How

can she make him love her

ldquo There is something approaching real

magic hererdquo The Arts Desk on The School for Scandal

P h o t o s M

a r k D o u e t

Dorothea MyerBennett in Richard III

Benjamin Whitrowand Julia Hills in The

School For Scandal

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Having conquered

Hollywood and vanquished

the global entertainment

industry video games now

on our culture So where

does the Bard stand in all of

this We sent a Shakespeare

scholar to investigatehellip

Words Andrew Bretz

Shakespeare video games

46 SHAKESPEARE magazine

T eGamersquos A oot Silent Hill is one

big-name gamewhich includesShakespearereferences

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Shakespeare video games

SHAKESPEARE magazine 47

German cardboard Macbeth datingfrom the early1800s

Hamlet reimaginedRyan Northrsquos To Be

Or Not To Be

W

hen you walk intothe wood panelled Victorian Gothicismof the Gail Kern Paster

Reading Room at theFolger Shakespeare Library in WashingtonDC video games are probably the lastthing on your mind Buried deep withinthe archives however are a set of fragilecardboard figures printed in Germany in theearly 1800s representing each of the maincharacters of Macbeth

Nineteenth century German children would play with these figures on smallcardboard stages no bigger than a dollhouseey could replicate the story as it was toldin Shakespeare or use their imagination tochange the ending letting Lady Macbethsurvive and bringing Duncan back from thedead if they so chosee limits of the game were the limits of their imagination

Today the lsquogamificationrsquo of Shakespeareis a big business from Ryan Northrsquos choose-your-own-adventure edition of Hamlet To Be Or Not To Be to IDW Gamesrsquosupcoming Kill Shakespeare board gamebased on the comic of the same name

Gamifying Shakespeare is filtering intoschools libraries and the theatrical worldas well with the University of California atDavis the Stratford Festival in Ontario theGlobeeatre in London and the LondonMetropolitan Archives all experimenting with video game elements in exhibits productionsand research

Why video games In a sense this is thelogical next step in the media development ofShakespeare Hersquos everywhere in other media

books movies merchandise But videogamese answer for that depends on whoyou ask

StorytellingOccasionally individuals or publishinghouses develop video games that try to tellthe story of say Hamlet yet this is relativelyrare One example would be Elsinore a time-looping narrative adventure game set in the world of the play Players play the game as

Ophelia who wakes up knowing that in fourdays the entire court will be dead and shemust do something to stop ite problemis that she is stuck in a time loop reliving thesame four days over and over againat said Shakespearersquos presence in the

video game industry tends to be focused oncitation rather than adaptation of the playsat is video games for Xbox Playstationand other popular gaming systems often

just cite Shakespearersquos plays as a part of acommon cultural heritageese games donrsquotrestage say Hamlet but they quote the playIn these cases Shakespeare is used to establisha point of identification for the audience His writing tells the audience something aboutthe character or the situation

Given that audiences are supposedto be able to identify the quotations asShakespearean it is unsurprising that Hamlet is the most popular text for game designers to

cite Ine Elder Scrolls Online for instancea merchant NPC (non-player character)quotes Polonius when players interact sayingldquoNeither a borrower nor a lender berdquoe words establish the NPCrsquos role as a merchant while fitting the medieval world of thegame In the game LA Noire upon pickingup a fake shrunken head at a crime scene adetective leaps into high melodrama withldquoAlas poor Yorick I knew him Horatiordquoequotation and the clever voice acting establish

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Shakespeare video games

48 SHAKESPEARE magazine

the characterrsquos strait-laced yet macabre senseof humour

Sometimes citing Shakespeare is a partof a critique of a larger theme In the game Mass E ff ect the Elcor are a race of elephantinealiens who preface all statements with adescription of the emotion they are feelingand who speak in a slow monotonous drone As players interact with the expansive worldthey can discover a number of advertisementsfor an all-Elcor Hamlet e idea of theElcor actor ndash the ultimate in a flat woodenperformer ndash having to preface ldquoTo be or not

to berdquo with ldquomorose ruminationrdquo goes beyondthe simple humour of a bad Shakespeareperformance It subtly asks what it is aboutacting (and especially voice acting) that isvaluable

Shakespeare can appear in video gamesnot merely as a marker or contextualisationtool but as a part of a puzzle For example inthe game Silent Hill 3 players must arrange aset of Shakespeare anthologies on a bookshelfin an abandoned shopping mall in order to

proceed in the game At the hardest levelthe puzzle clue takes the form of a poemthat references all the major tragedies Romeoand Juliet King Lear Macbeth Othello andof course Hamlet e bloody nature of thetragedies fits with the bloody nature of theSilent Hill series of games which fall into thesurvival horror genre

Popular video games have also servedas the inspiration for games that engage with Shakespeare in a more direct way For

example Daniel Fischlin at the Universityof Guelph in Ontario Canada led a teamthat created a Flash game called rsquoSpeare Itrsquos

a scrolling arcade-style game suggesting thersquo80s hit Galaga which sees players identifyingand navigating through a series of enemies who turn into words upon being destroyede player progresses through the levelsby collecting the correct words to createShakespearean quotes learning Shakespeareantrivia along the way

ImmersionOne of the most exciting aspects of videogames is the ability to immerse the player inthe world of the game in a way that othermedia simply cannot do Being able to walkaround Prosperorsquos cell Julietrsquos balcony orto stand before the ghost of Hamletrsquos fatheras he cries out ldquoList list O listrdquo ndash theseexperiences are made possible through videogame technology

Students of Scenic Arts at the Universityof Hildesheim in Germany created Projekt ARIEL or SturmMOD in 2008 using a lsquomodrsquo(or modification) to the engine that runs

the game Far Cry 1 e performance artproject allowed users to experience Prosperorsquosisland interacting with certain parts andexploring others Players could walk aroundan imaginative rendition of Prosperorsquos cell and witness or interact with elements of the playincluding diff erent characters like CalibanProspero and Miranda

Four days to savethe Danish court

Elsinore

Another Hamlet reference this timein LA Noire

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Shakespeare video games

SHAKESPEARE magazine 49

Gina Bloom at the University of Californiaat Davis is presently spearheading a projectthat will be demonstrated in the lobby of theStratford Festival theatre in Ontario Canadathis summere project Play the Knave AShakespeare Performance Videogame lets usersdesign a virtual performance space and thenperform a scene from a Shakespeare playinhabiting this constructed space with anavatar As a Davis insider explains ldquoWe use akinect motion capture camera to capture theuserrsquos skeletal data so that players use theirentire bodies to control their avatarrsquos gesturesonscreen all the while reciting the lines from

Shakespearersquos scenerdquo is literally immersesthe players in the scene

Shakespearersquos Globe eatre in Londontook another tactic regarding immersionin the production of the game HemmingsrsquoPlay Company Hosted on the Playgroundportion of the Globersquos website and thusaimed at an audience of children the gamehas players taking on the role of Hemmingsan Elizabethan bear who leads a troupe oftheatrical animals such as Kit the Cat Dekker

the Dog and Slye the Foxe turn-based game leads players through

the vagaries of Elizabethan theatre practicefrom patronage to lost props and the plagueBy the end of the game players must earnenough money to rebuild the Globe after itburns down during a performance of HenryVIII

Also from Shakespearersquos Globe are twoinnovative video experiences created forchildren aged five to 11 e first Exploring

Shakespeare features two boys on a tour ofthe Globe theatre who sneak off to explorebackstage e video illustrates four plays

using short animations that are keyedto things the boys find backstage etechnology combines live action film andanimation to create an interactive touchablegame Filled with mini-games quizzes andinteresting facts about Shakespeare the gameallows players to click through the narrativeor to stop and learn more as they go along

e second video called Staging It usesthe same technology as the first film but thistime is for the 11-16 age group In this gamee Globe has filmed two actors performingfamous duologues from A MidsummerNightrsquos Dream and Macbeth on the Globestage Rather than shoot it once the actorshave performed their lines in diff erent ways(happy flirtatious defensive and so on)creating several diff erent clips per linePlayers can watch each of the clips and addtheir choice to a dynamic storyboard tobuild up their final scene Impressively theplatform allows for up to 1000000 diff erentcombinations of clips

Apps and Mini-GamesItrsquos when you start to look outside of therealm of popular video game platformslike Xbox or Playstation that Shakespeare

Silent Hill 3 Brush upyour Shakespeare ifyou want to survive

Hemmingsrsquo PlayCompany fromShakespearersquosGlobe

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Shakespeare video games

50 SHAKESPEARE magazine

really starts to pop up wherever you looke ubiquity of Shakespeare is especiallynoticeable when you start to look at apps andmini-games designed for phones and tablets

In 2012 Big Fish Games released aniPhone and iPad game called Hamlet that featured all the main characters ofShakespearersquos play but transposed them intoa save-the-princess narrative puzzle game A time traveller lands in Denmark andaccidentally kills Hamlet and so players mustcomplete his journey for him saving Opheliaand killing Claudiuse Shakespeareancontent is minimal and heavily adapted andyet it fits with the puzzle format in whichShakespeare tends to be found in videogamese Chronicles of Shakespeare Romeo amp

Juliet ande Chronicles of Shakespeare A Midsummer Nightrsquos Dream are lusciously-illustrated puzzle games for the PC In themplayers act as one of the characters from theplays gathering items and clues through aShakespearean environment

Among the literally thousands of appsrelated to Shakespeare that can be found forthe iPad or Android tablet are

e Shakespearean Insult Creator which generates invectives drawn from a wholly Shakespearean vocabulary So nexttime you want to call someone a jerk trysomething more like ldquoou fusty follyfallenfustilarianrdquo

e Shakespeare Translator whichtranslates ldquonormal English words and phrasesinto the words of Shakespeare himselfrdquo

e Shakespeare Fortune Cookie which provides short quotes from the plays

and a small trivia game Shakespeare or Die a game that

scrambles the words of famous quotationsfrom the plays and asks you to identify theplay and character who spoke the line If youmake a mistake however beware the witchesese apps are either explicitly games or

they are coming out of a game-like impulse tomake Shakespeare more accessible to everyone with an internet connection

Brave New WorldsIn a world where Shakespeare is an industrycounted in the millions of dollars per yearit is so easy to forget that Shakespearersquos playsare just that ndash playsere is a sense of joyand fun and happiness embedded in theexperience of watching them Games are oneof the ways that people over the centuries

have tried to recapture that elusive sense ofplayfulness within Shakespeare So it makesperfect sense that now with the advent ofdigital technologies Shakespeare is movinginto the digital world with a vengeance

From big studio games likee ElderScrolls to small apps that can be downloadedfor free from talking bears to immersiveperformance experiences Shakespeare iseverywhere in video games Rather than beingan undiscovered country into which the Bard

is only just beginning to emerge games havein fact engaged with Shakespeare and his works for hundreds of years And they willprobably continue to do so for hundreds ofyears to come

rsquoSpeare is a scrollingarcade-stylegame with addedShakespeare trivia

Hamlet is aShakespeare-themed puzzle fromBig Fish Games

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Meet thy makers

Helen Mears fell into bardolatryduring her teenage years and has

never recovered She is a volunteersteward at Shakespearersquos Globe

which ensures a regular diet of theBard She teaches English Film andMedia at Suffolk New College and isa specialist in teaching Shakespeareusing active methods Her favouriteShakespearean actor is Jamie Parker

and her favourite plays are the SecondHistory Tetralogy She hopes to

finish her Masters in the AdvancedTeaching of Shakespeare very soonFind her on Twitter hipster_hels

Paul F Cockburn is an Edinburgh-based freelance magazine journalist who specialises in writing about

arts and culture equality issues andpopular science Hersquos sufficiently

grey-haired for his English Literaturetraining to have sort of overlapped

with The BBC Television Shakespeareproject saving at least some of the

plays from death by academiaFind him on Twitter paulfcockburn

Jen Richardson first fell in love withShakespeare as a 15-year-old schoolgirl

ldquoHe got under my skin and hersquos still theretodayrdquo After training with a Manchester-based drama tutor she went on to pursuean acting career Drama remains a greatinterest but her focus is now on sharing

her passion for Shakespeare throughher writing In her spare time Jen is

generally down in Stratford-upon-Avonsitting on her favourite bench behind

Holy Trinity ChurchFind her on Twitter The_JenJen

Andrew Bretz is a sessional instructorof English Literature and Drama

specialising in early modern dramaHe has taught at Wilfrid LaurierUniversity the University of Guelph

Brock University and McMasterUniversity For the past two years he

has taught a special summer intensiveat Ontariorsquos Stratford Festival His PhDdissertation was on the representationof sexual violence on the early modern

stage Find him on TwitterAndrewBretz001

Just some of the contributors to this issue of Shakespeare Magazine

Rosalind Lyons is a painter whohas exhibited widely in both mixedand solo shows with work in UK

and international private collections A life-long love of Shakespeare isreflected in many of her paintings

and a particular recent focus isShakespearersquos Globe theatre where shespent a period as artist-in-residenceShe is currently studying for a PhD

in Painting and ShakespeareanTheatre at Anglia Ruskin University

in CambridgeFind her on Twitter roslyons

52 SHAKESPEARE magazine

Contributors

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Page 7: Shakespeare Magazine 08

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Perhaps the quintessentially English actor

Benedict Cumberbatch is taking on the

quintessentially English poet and playwright

William Shakespeare His new Hamlet

is the fastest-selling production in London

history but which other Shakespeare roles

has Benedict played And how does he feel

about tackling The Big One

Words Helen Mears Photos Johan Persson

Benedict Cumberbatch

SHAKESPEARE magazine 7

Lyndsey Turnerrsquos 2015production of Hamlet

features striking setdesigns by Es Devlin

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Benedict Cumberbatch

8 SHAKESPEARE magazine

and Romeo and Juliet playing Orlando andBenvolio respectively

Shakespeare does not feature again inCumberbatchrsquos CV Instead he worked his way through acclaimed TV work such as hisportrayal of Steven Hawking in 2004 bio-drama Hawking and his role as the troubledartist Vincent Van Gogh in 2010rsquos VanGogh Painted with Words and film roles in Atonement (2007) and The Other Boleyn Girl (2008) before breaking big in 2010 with theBBCrsquos Sherlock The programme was a world- wide success and propelled Cumberbatchonto the acting A-list Since then he hasfeatured in Star Trek Into Darkness (2013) 12Years a Slave (2014) and two of the Hobbit films (2013-14) in which he voiced thedragon Smaug He also made a huge successof The Imitation Game (2014) in which heplayed codebreaker Alan Turing

Now Benedict is returning to Shakespeare with vengeance with two major roles on

stage as tragic hero Hamlet and on BBCTV as arch-villain Richard III in The HollowCrown The Wars of the Roses A taster came inthe BBCrsquos Lifetime of British Drama promo where he beautifully recites the Seven Agesof Man speech from As You Like It over clipsfrom classic BBC dramas past and present

Incredibly Cumberbatch is himself adistant descendant of Richard III The actorread Carol Ann Duffyrsquos specially-composedpoem lsquoRichardrsquo at his ancestorrsquos re-interment

at Leicester Cathedral in March 2015 Hefelt honoured to have been involved and itseemed particularly apt that he was filmingthe role of Richard at the time of thishistoric event ldquoHaving just played his verydifferent Shakespearean characterisationrdquo

Benedict will beseen as Richard IIIin the second cycleof the BBCrsquos The

Hollow Crown

B enedict Cumberbatchrsquos professionalrelationship with Shakespeare began early inhis career back in 2001 He appeared in theNew Shakespeare Companyrsquos productions inRegentrsquos Park playing the King of Navarrein Loversquos Labourrsquos Lost and Demetrius in A Midsummer Nightrsquos Dream As he told Whatrsquos

On Stage in 2005 ldquoThey were my first twoprofessional roles in the theatrerdquo In theinterview he also stated that Shakespeare was his favourite all-time playwright Thispresumably influenced his decision to returnto Regentrsquos Park in 2002 for As You Like It

ldquoYou wouldnrsquot look twice at Richard Hersquos avery dangerous charming powerful manrdquo

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Benedict with MartinFreeman (left) in theBBCrsquos Sherlock

Rehearsals forHamlet July 2015

Benedict Cumberbatch

SHAKESPEARE magazine 9

he commented ldquoI was intrigued to see whatthe real historical event would be like andto be a part of this extraordinary moment ofremembrance Then what really sealed thedeal was this beautiful poemrdquo

Benedict feels that the discovery ofRichardrsquos remains has changed peoplersquosperceptions ldquoI think the debate in historicaland archaeological terms about the reality ofhim and his kingship is whatrsquos extraordinaryto witness nowrdquo

He also recognises the perilous appealof Shakespearersquos Richard ldquoYou wouldnrsquotlook twice at him necessarilyrdquo he said ldquobutonce he had you in his beamhellip Hersquos a verydangerous charming powerful manrdquo

Cumberbatch was boldly instrumentalin Dame Judi Denchrsquos appearance in TheHollow Crown The Wars of the Roses Heattended a Shakespearean workshop eventat which the veteran actress was appearing When the audience were asked if they hadany questions he leapt into action askingldquoWould you like to be in Richard III withmerdquo Dame Judi naturally accepted

And fans of Sherlock will already knowthat Andrew Scott who played criminalmastermind Moriarty will also be appearing

in The Wars of the Roses as the French KingLouis

But itrsquos Cumberbatchrsquos run as Hamlet

at Londonrsquos Barbican that is arguably the Shakespeare event of 2015 It sold out inrecord time (although the venue promisethat day tickets will be available for eachperformance) as fans worldwide foughtfor their chance to see Benedict play theDane It is clearly the fruition of a dream forCumberbatch Indeed when asked at 2012rsquos

Cheltenham Literary Festival which play he would choose if he could only perform onemore stage role he opted for Hamlet ldquoEveryactor wants to have a go at itrdquo he said ldquoand I want to have my go at it and I will But wersquore working out when and howrdquo

Well the ldquowhen and howrdquo is right nowBenedict Cumberbatchrsquos career has come fullcircle from his first professional performanceof Shakespeare to playing his dream role Ifyoursquore lucky enough to have a ticket yoursquoll

be witnessing the most talked-about andfeverishly-anticipated theatrical event in yearsIf not therersquos always those queues for daytickets Wersquoll see you there

Hamlet runs at the Barbican Theatre

London until 31 October

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Shakespeare On Sale

SAVE 25 Since 1941 Dover Publications has built its reputation by offering remarkable books at

amazing prices Discover our fine catalog of the works of William Shakespeare

The complete collection of comedies historiesand tragedies all in compact 5rdquo x 8rdquo unabridgedpaperback editions The lowest-priced editionsavailable for todayrsquos educators students actorsand Shakespeare lovers of every kind

Complete and unabridged text of a play plus acomprehensive study guide with scene-by-scenesummaries explanations and discussions of the plota question-and-answer section and more

Calla Editions reg Books of Distinction for the Contemporary Bibliophile

Our premium imprint features impeccable hardcover reproductionsof some of the most beautiful books ever published Filled with

breathtaking artwork and other deluxe features each Calla Editionrecalls a time when bookmaking was considered an artform

wwwdoverpublicationscomwilliam-shakespeare

To SAVE 25 Click Here

NO minimum order required bull Use CodeWLA2 at checkout bull Expires 123115

P l u s M or ehellip

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G A L L E R Yamp R E V I E WFor a generation of Cumberbatch fans lsquoBenedict at the Barbicanrsquo is the

most sensational and controversial Shakespeare production of a lifetime

Images Johan Persson Words Liz Barrett

Hamlet

ldquoTo be or not to be ndashthat is the questionrdquo[III 1] Controversially the playrsquos most iconicspeech was moved to the beginningAs we went to press however thisdecision had apparently been reversed

Benedict Cumberbatch

SHAKESPEARE magazine 11

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Benedict Cumberbatch

12 SHAKESPEARE magazine

ldquoA villain kills my father and for thatI his sole son do thissame villain sendTo heavenrdquo [III 3]

ldquorsquoTis in mymemory lockrsquod And you yourself

shall keep the key of itrdquo[I 3] Ophelia (Siacircn Brooke)

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Benedict Cumberbatch

SHAKESPEARE magazine 13

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Benedict Cumberbatch

16 SHAKESPEARE magazine

ldquoAnd yet to me whatis this quintessence

of dustrdquo [II 2]

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Even more than London there

is one place above all that is

green and pleasant landhellip

Words Helen Mears

Pictures Helen Mears and Susan Braund

Stratford-upon-Avon

SHAKESPEARE magazine 19

W e could be in any smallpicturesque Englishtown with its medievalchurch half-timberedTudor buildings shops

restaurants and delightful riverside walksBut Stratford-upon-Avon is not just any

town Itrsquos one of the best-known most- visited and probably most-loved locations inEngland Thatrsquos because itrsquos the birthplace of William Shakespeare Itrsquos also the place heseems to have considered his home After allShakespeare grew up there went to schoolthere and spent his final days there

So here is Shakespeare Magazinersquos on-the-ground guide to Stratford-upon-Avon Hereyoursquoll find hints and tips for first-time visitorsand returning aficionados alike What to see

the best ways to see it where to stay where toeat and how to get around while yoursquore there Are you ready Then letrsquos start our tourhellip

The BirthplaceSurely the must-visit spot for any self-respecting Bardolator this is where it all beganndash the six-roomed Merchantrsquos House on HenleyStreet where in April 1564 Mary Shakespeare wife of glover John gave birth to their famousson Williame house is approached

HOME

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20 SHAKESPEARE magazine

through the Shakespeare Centre on the left-hand side of the Birthplace A short exhibitionshows you items such as a prized First Folioand the foot of Stratfordrsquos Old Market Cross

from where glover John Shakespeare wouldhave sold his wares A walk through the gardens leads to

the house itself You enter through theself-contained annexe where William and Anne Shakespeare spent the first years oftheir married life and where their childrenSusannah Judith and Hamnet were born eannexe was later occupied by Williamrsquos sister Joan You can walk through the parlour andthe dining room to Johnrsquos workshop where heproduced gloves and other leather goods

A staircase leads to two bedrooms onefor the girls one for the boys and a loft spaceis visible where the apprentices would haveslept Finally you reach the birth room themain bedroom in which William and his sevensiblings were born

Guides are on-hand in all rooms to tell youtheir history and other gems of informationComplete your visit by watching classicShakespearean speeches performed in thegarden by resident acting troupe Shakespeare

Aloud and then picking up some souvenirs inthe gift shop and excellent bookshop

e five house ticket is the best value givingyou entry to all of the properties (HarvardHouse is a current alternative to New Place)and allowing you to view Shakespearersquos Gravein Holy Trinity Church

The Avon and Boat trips A walk along the Avon is a must in any seasone gentle stroll from the RSC to Holy Trinity

Church will take you past drooping willowssmoothly sailing swans and green parklandFor a diff erent perspective on the town you cantake a boat trip along the river itself Startingfrom near the RSCeatre you cruise gentlydown to the church where Shakespeare wasbaptised and buried before turning back andheading past the theatre and under CloptonBridge Itrsquos a bridge that William himself would have known built as it was around1480 e Avon is very pretty everywhere

you look are the incredible tame (and alwayshungry) swans and picturesque houseboatse banks are lined with weeping willows that just might have been the inspiration for poorOpheliarsquos watery end in Hamlet If you wouldrather take a slower self-driven trip there arerowing boats canoes and small speedboatsfor hire Beware though these are not aseasy to control as they look and you may wellspend a good proportion of your allottedtime relearning how to row and avoiding

Stratford-upon-Avon

The birth roomat ShakespearersquosBirthplace

Molly fromShakespeare Aloudin the Birthplacegarden

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SHAKESPEARE magazine 21

other hapless river tra ffic Boat trips typicallylast for around 40 minutes and are especiallypleasant in the late afternoon when the sun setsslowly behind the church steeple For addedluxury you can take a restaurant cruise where

afternoon tea or an evening meal are served onboard or as a quicker cheaper alternative youcould take the chain ferry across the Avoneferry dates from 1937 and is the last of its kindin the UK

Nash House and New Place

As well as the Henley Street property theShakespeare Birthplace Trust care for fourother locations in and around Stratford allassociated with Williamrsquos family Nash House

and New Place were adjoining propertieseformer was the home of Judith Shakespeareand her husband while the latter was thefamily home that William purchased in 1597at the time the second most expensive housein the town Sadly it was demolished by asubsequent owner but the Trust are currentlyundertaking a massive renovation of the siteis means that the properties will not be opento the public until 2016 to coincide with the400th anniversary of Shakespearersquos death

Hallrsquos Croft

A brief walk from New Place will take youto Hallrsquos Croft the home of SusannahShakespeare and her husband the physician John Hallis is an interesting property in its

own right and is partly set up to show how apractising physician would have worked at thetime A special mention too must goe Arterthe award winning independent craft shopadjoining the building and to the beautifulgarden in which open air performances ofShakespearersquos plays are sometimes performed

Stratford-upon-Avon

Holy TrinityChurch viewedfrom the Avon

Nash House andNew Place

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22 SHAKESPEARE magazine

Anne Hathawayrsquos Cottage A short distance from Stratford is Shottery where you can find the beautiful cottage

which was the home of the Hathaway familySet in yet another lovely garden this is thehouse in which Anne Hathaway grew upand was courted by the young William JohnShakespeare served with Anne Hathawayrsquosfather on the town council so their childrenprobably knew each other from a young agee family remained associated with thecottage for several centuries and have spunmany a yarn about the young lovers theveracity of which are highly questionable

However the stone floor of the kitchen isoriginal and we know that William must have walked those stones many many times

Mary Ardenrsquos Farme last of the Shakespeare properties is Mary Ardenrsquos Farm Shakespearersquos mother lived hereand itrsquos where she probably took the infant William when plague broke out in Stratfordshortly after his birth Open from March toNovember only the farm is run as a working

Tudor farm with costumed guides caring forthe buildings and the animals Itrsquos a great placefor a family day out with plenty to see and doand numerous activities runningere are

daily falconry shows archery animals to feedand games to play You can even treat yourselfto a genuine Tudor meal in the cafe ndash pottageand home-baked breads are a speciality

What if you donrsquot have a care town itself is fairly small and all themain attractions are within walking distanceHowever the easiest way to get around and toenable a visit to Anne Hathawayrsquos Cottage andMary Ardenrsquos farm is to the Hop On-Hop Off City Sightseeing busis will take you to allthe main town locations and also to Shotteryand Wilmcote A day ticket will give youunlimited access to the buses and allow you tovisit all of the Shakespeare properties e buscan be picked up by the statue of Touchstonethe jester at the top end of Henley Street

Walking Tours Another excellent way to see the main sites ofStratford and to learn some of the historicaltales of the town is to take a walking tour

Stratford-upon-Avon

Anne HathawayrsquosCottage

Mary Ardenrsquos Farm

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ere are several options depending on thetype of tour yoursquod likee town guides runhistorical tours of the town every day (yesevery day) of the year For those who like to be

a bit more daring there are evening ghost walksled by costumed guides who will tell you someof the spooky tales of Stratford Both of thesetours start from the Swan Water Fountain onthe riverside

Or if you like the idea of being guidedby Shakespeare himself on a Saturday (andMonday to Saturday through the summerholidays) there are town walks led by the manhimself (or someone who looks an awful lotlike him)ese run from Tudor World onSheep Street an interesting museum in thehouse that belonged to the man who wasallegedly the model for Sir John Falsta ff

Holy Trinity Church Another must-see is the townrsquos 13th centurychurch with its distinctive spire that dominatesthe view from the river Remember that if youhave a ticket to the Birthplace properties yourvisit to the grave is free e church is famousfor being where William Shakespeare wasbaptised on 26 April 1564 e old font that

was used for the baptism is displayed in thechancel along with copies of both the registerof baptism for April 1564 and the register ofburials for April 1616 where Shakespearersquosname can be clearly seen Also in the chancelin front of the altar are the Shakespeare familygraves Williamrsquos bears its infamous curse

ldquoGOOD FRIEND FOR JESUSSAKE FOREBEAR

TO DIGG THE DVST

ENCLOSED HEREBLESTE BE YE MAN YT SPARESTHESE STONES

AND CURSED BE HE YT MOVESMY BONESrdquo

On the wall above the grave is the effigy of

Shakespeare Itrsquos one of the few images which was produced within the lifetime of AnneShakespeare and probably one of the mostauthentic likenesses of her husband

The Guildhall and King EdwardrsquosSchoolDirectly opposite the site of New Place standthe Guildhall and the townrsquos old grammarschool Both of these places have links to theShakespeare family King Edwardrsquos Schoolis where the young William is believed tohave studied and itrsquos probably where hefirst encountered the classical texts which soinspired him As the son of a town councillorhe would have been entitled to a placee

old school is sometimes open to visitors at weekends or during the holidays but theschool has just won a lottery grant whichshould enable them to open it as a permanentattraction e Guildhall was sometimes hostto groups of travelling players and so it couldbe the site where young William first sawtheatrical performances It is widely believedthat John Shakespeare owing to his role astown bailiff was responsible for supervising the whitewashing of the medieval Doom Painting

Stratford-upon-Avon

SHAKESPEARE magazine 23

The GuildhallDoom Painting

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24 SHAKESPEARE magazine

Stratford-upon-Avon

is has been recovered and is now once againvisible above the chancel arch

The Royal Shakespeare CompanyTheatre and the riversidee riverside park is home to several interestingsights It is from here that you can get a view ofthe Clopton Bridge pick up a river cruise feedthe swans and admire the Gower Memoriale memorial was presented to the town in1888 and features a statue of Shakespeareseated upon a plinth overlooking statues offour of his best known charactersese areHamlet Prince Hal Sir John Falsta ff and Lady

Macbeth who represent Comedy HistoryPhilosophy and Tragedy Closer to the theatreis the beautiful Swan Water Fountain unveiledin 1996 If you see the water frothing fear notit seems to be a sport amongst local youngstersto fill the fountain with washing up liquid on aregular basis

e Royal Shakespeare Companyeatre was built in 1932 but has recently undergonea complete refurbishment in both the mainand the Swan theatres e building reopened

in 2010 with both theatres having beenconverted to boast thrust stages and curvedgalleries similar in shape to the originalElizabethan playhousese world renowned

Royal Shakespeare Company performshere throughout the year staging plays byShakespeare and his contemporaries as well asby newer authors ey also run an educationprogramme exhibitions family activitiesduring the school holidays and theatre toursTo see Stratford from an entirely diff erentangle take the lift up the 36 metre high towerfor spectacular views across the town

Where to eat and drinkStratford has an excellent range of eateriesto suit all tastes and budgets ere is pubgrub afternoon teas world cuisine finedining pizza pasta and fish and chips Manyrestaurants off er pre-theatre menus and ifyoursquove been on a town walk you may find thatyou can get discount vouchers for your foodere are many pubs in Stratford including theGarrick Inn the oldest pub in the town whereyou can taste the Shakesbeer specially brewedto celebrate Shakespearersquos 450th Birthday in2014 If you want to spot RSC cast members

relaxing after their showse Dirty Duck on Waterside is the place to drink

Where to stay Again Stratford-upon-Avon has a good varietyof hotels bed and breakfasts and holidayhomes All the main chains have hotels inthe town from budget brands to the luxurynamesere is an excellent choice of bedand breakfast establishments in and aroundthe town again these will suit all tastes and

budgets Airbnb also has an interesting rangeof rooms flats and houses to rent in StratfordHowever be sure to book early especially forthe prime summer months

The Shakespeare Birthplace Trustwwwshakespeareorguk

The GowerMemorial Will andPrince Hal

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M

any places around the worldhave been named afterStratford-upon-Avon thebirthplace and home of William

Shakespeare And many of those Stratfordsare home to theatre festivals of varying sizesStratford in the state of Victoria in Australiahas an annual Shakespeare festival still goingevery year while Stratford in Connecticut inthe USA had a major theatre from the mid1950s to the mid 1980s Stratford Ontarioin Canada however stands out among thesetowns and festivals not merely in scope but ininternational reputation and prestige

In 1950 Canada had no home-growntradition of classical theatre Certainly

Shakespeare was performed but there hadbeen a strong anti-theatrical movement inCanada throughout the 19th century whoseeffects still lingered throughout the first half ofthe 20th As a cultural icon Shakespeare wasedifying to be sure but certainly not to beperformed The Stratford Festival changed allof that for Canada

In the late 1940s the local newspapers andgovernment of the town conceived of the ideaof revitalising Stratfordrsquos sagging economy by

capitalising on the name of the town and its

long association with the Bard They bandedtogether and under the leadership of TomPatterson they brought over Tyrone Guthrieand Alec Guinness for the first season in1953 Guthrie had famously directed Gielgud

inHamlet

at Elsinore Castle in Denmarkand had been the manager of the Old Vic inLondon He wanted to create an acting spacethat echoed the original Globe theatre whereactors were surrounded by the audience incontrast to the proscenium arch theatres thatdominated the London and New York scenes

From the first performance which tookplace inside a giant circus-style tent on thebanks of the Avon River the festival workedto create a new aesthetic of Shakespeareanperformance The thrust stage of the FestivalTheatre designed by Tanya Moiseiwitschhas been recognised as one of the greatinnovations in stage design of the 20th centuryGenerations of actors have had to learn howto address an audience on three sides of themsometimes only an armrsquos length away

The festival has been central to the careersof Canadian actors such as ChristopherPlummer Martha Henry and even WilliamShatner Actors from the US and UK havesought to play the festival as well including

Peter Ustinov Christopher Walken and JessicaTandy Indeed these international stars notonly lend credibility but have indelibly markedthe festival For instance Maggie Smithrsquosperformance as Rosalind in As You Like It inthe 1977 and 1978 seasons is legendary in thecompany and the town

Today the festival has expanded to includemultiple performance spaces a theatre schooluniversity accredited courses and the largesttheatrical costume shop in North America

It has started countless careers inspiredcompanies such as Torontorsquos SoulpepperTheatre and helped shape the Canadiantheatre landscape for over 50 years

Stratford Festival ndash Ontario Canada

wwwstratfordfestivalca

MEANWHILE

IN CANADATherersquos more than just one Stratford you knowAnd the one in Ontario Canada has a world-renownedShakespeare Festival gives us a tour

Stratford Ontario

SHAKESPEARE magazine 25

ldquoFrom the fi rst performancethe Festival worked tocreate a new aesthetic ofShakespearean performancerdquo

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Planning to performa short selection

from Shakespeare

The 30-Minute Shakespeare

Anthology contains 18 abridged

scenes including monologues from

18 of Shakespearersquos best-known plays

Every scene features interpretive stage

directions and detailed performance

and monologue notes all ldquoroad testedrdquo

at the Folger Shakespeare Libraryrsquos

annual Student Shakespeare Festival

THE 30-MINUTE SHAKESPEARE is an acclaimed series of abridgments that tell the story of each play while keeping the beauty ofShakespearersquos language intacte scenes and monologues in this anthology have been selected with both teachers and students inmind providing a complete toolkit for an unforgettable performance audition or competition

NICK NEWLIN has performed a comedy and variety act for international audiences for more than 30 years Since 1996 he hasconducted an annual teaching artist residency with the Folger Shakespeare Library in Washington DC

The 30-Minute Shakespeare series is available in print and ebook format at retailersand as downloadable PDFs from 30MinuteShakespearecom

The 30-Minute Shakespeare Anthology

includes one scene with monologue

from each of these plays

ldquoLays the groundwork for a truly fun and sometimes magical

experience guided by a sagacious knowledgeable and intuitive

educator Newlin is a staunch advocate for students learning

Shakespeare through performancerdquo mdashLibrary Journal

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Roaslind Lyons

28 SHAKESPEARE magazine

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For UK artist Rosalind Lyons the Bard is a

constant presence in her creative life She tells

us how Shakespeare inspired the haunting and

dreamlike works that adorn these pages

Words and paintings by Rosalind Lyons

Rosalind Lyons

SHAKESPEARE magazine 29

Left TheRoaring Boys

PAINTINGSHAKESPEARE

S hakespeare has long been at the heart ofmy work sometimes directly and obviouslyin the subjects and often in the titlesBut always Shakespearersquos words charactersand stories are there in my head when Iam painting ndash a perpetual conscious andunconscious presence

My style echoes that of the Renaissancepainters and Elizabethan portraits andthese influences combined with a life-long love of Shakespeare made my firstvisit to Shakespearersquos Globe pivotal Iexperienced a powerful sense of connectionand recognition Here suddenly ideasand themes with which I had been so longpreoccupied were brought to life

I subsequently gained access to theGlobe to draw and later spent some time

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as Artist in Residence thereat experienceprompted more in-depth exploration notonly of Shakespeare and painting but of therelationship between painting and theatreere are of course the strong visualconnections ndash both are spaces for spectacleand illusion But also compelling ideas oftransformation imagination storytelling andidentity And overall the theme of ambiguitye blurring of boundaries between realityand fiction male and female light andshadow past and present I am fascinated byhow we respond to history how we re-presentand re-imagine the past And the figures inmy paintings are imagined as belonging toboth now and then ndash flitting back and forthacross the threshold between past and presentbetween Shakespearersquos time and our own

modern worldI have painted some specific characters

from Shakespeare but many subjects ofmy paintings are anonymouse figuresare unknown their place purpose role is amysteryis anonymity is unsettlingereare clues in the setting in the costumes ndash orperhaps I should just say in the clothes theyare wearing ndash but the context is not obviousI am fascinated by the dramatic convention ofcross-dressing ndash and particularly the inherent

confusion as with Rosalind ( As You Like It )and Viola (Twelfth Night ) in the idea of aboy playing a girl playing a boy Many of thecharacters I invent are androgynous theirgender and age uncertainis ambiguityof identity interests me in the context ofvisual illusion and theatrical transformationthe idea of inbetween-ness and somethingunresolved

Like theatre my paintings are concerned with inventing characters and the creation

Right No MoreYielding But A

Dream

Roaslind Lyons

30 SHAKESPEARE magazine

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of an imaginary world and I am particularlyattracted to the fools fairies and witchesIn A Midsummer Nightrsquos Dream the fairiesrsquoactions may seem malevolent or benign or just mischievous but there is definitely a dark

side an underlying sense of threate Fool too is intriguing Shakespearersquosfools frequently describe themselvesor are referred to as a nobody but areunquestionably much moree fool is anoutsider concerned with but at the same timeseparate from the story He ndash or sometimesshe ndash doesnrsquot quite belong anywhere butseems to exist on the boundary between thefamiliar and the uncanny

I am attracted to the strange to mysteryand shadows and try to express through myimages a strong feeling that it could be thator maybe something else As Orsino says atthe conclusion of Twelfth Night ldquoA naturalperspective that is and is notrdquo While makinga painting and even when it is finished Idonrsquot know really who my characters are ndashthey remain elusive But I like not knowingand ultimately meanings always change anddepend on individual perceptions

My experience at the Globe led to aparticular fascination with the ambiguous and

protean quality of the theatrical performerhow their identity transforms and fluctuatesI was attracted by this when watching

Rosalind Lyons

SHAKESPEARE magazine 31

Above A MidwinterNightrsquos Dream

Right Three Fools

Far right FollowingDarkness

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rehearsals observing actors shift between selfand impersonation between diff erent realitiesand identities When they are not acting theyndash metaphorically and often literally ndash melt

into the shadows I am interested too in thephysical and symbolic threshold between lsquoonrsquoand lsquooff rsquo-stage the transformation inherentin an actor moving from the wings onto thestage assuming another self and anotheridentity Particularly evocative is the fact thatactors were colloquially known as shadowsin the Elizabethan playhouses ndash suggestingsomething unknowable and insubstantialIn the Prologue to Henry V Shakespeare hasthe Chorus describe the players as lsquociphersrsquoimplying deception and secrecy

Artists in the past who have tackledShakespeare have generally produced imagesthat directly illustrate the text or representfamous actors or scenes from a particularperformance Today as well as on the stageShakespearersquos plays are frequently re-imaginedin very successful film and TV adaptationsbut I have struggled to find more than ahandful of contemporary fine artists whohave engaged with Shakespeare on any levelPerhaps Shakespeare as a subject is seen

by some as too traditional too lsquopopularrsquoor simply just too lsquooldrsquo But in the theatreand in literature there is an ever-increasingenthusiasm for innovative interpretationsof the plays and for me Shakespeare is aconstant inspiration

e Prologue of Henry V also urges theaudience to ldquoPiece out our imperfections withyour thoughtsrdquo to liberate the imaginationand create another kind of reality to shapeour own fantasies within the ldquowooden Ordquo of

the theatre In my paintings I endeavour todo the same

Explore the work of Rosalind Lyons atwwwrosalindlyonscom

Above These Two CreaturesBelow Therersquos Magic In Thy Majesty

Roaslind Lyons

32 SHAKESPEARE magazine

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$amp( ) +-01

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Aidan OrsquoReilly

34 SHAKESPEARE magazine

Looking forRichard AidanOrsquoReilly is playingShakespearersquosbaddest monarch

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Aidan OrsquoReilly

SHAKESPEARE magazine 35

You are legally blind having been

diagnosed with retinoblastoma as an

infant How did this impact on your

acting aspirations and early career

ldquoMy parents did a good job raising me Inever grew up thinking of it as a handicap orthinking it could hold me back from what I wanted to do I couldnrsquot play sports at all soI think my parents were grateful that I hadsomething that I was passionate about from avery young age

ldquoI went to a public elementary school with a program designed for the blind so itfelt very natural for me to be the way that I was And acting has always been part of thatrdquo

You went to RADA in London Was

there a reason why you wanted to

train in England and not in the US

ldquoItrsquos always been an ambition of mine to

travel as far and wide as possible Also myhero growing up was Peter OrsquoToole ndash Iread his autobiography in high school andlearned he had gone to RADA and decided I wanted to go there too So I auditioned therenot knowing that RADA is arguably thebest drama school in the English-speaking world Consequently I was quite relaxed atthe audition which is probably why I gotin My ignorance can sometimes serve me well Going to RADA was a life-changing

Aidan OrsquoReilly is an actor with an

inspiring story Legally blind since he

was six months old he forged a passionfor drama at an early age Aidan went

on to gain a BA with honours from

Londonrsquos Royal Academy of Dramatic

Art before touring for three years with

the American Shakespeare Center

In 2012 Aidan was diagnosed with

sarcoma a rare cancer He bounced

back in 2014 after intensive treatment

and is now cancer-free We spoke to

Aidan as he prepared to play the title

role in Richard III for Californiarsquos Marin

Shakespeare Company We asked himto share his story and to give us his

take on one of Shakespearersquos most

fascinating characters

Interview by Jen Richardson

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Aidan OrsquoReilly

36 SHAKESPEARE magazine

experience I was lucky enough to havecontact with brilliant professors and Irsquom stillin awe of the students I went to school withI wouldnrsquot trade that experience for anythingrdquo After graduating from RADA you

went on the road with the American

Shakespeare Center Tell us a bit

about that

ldquoThat was one of the happiest times of mylife In many ways I got spoiled I was a working actor 11 months out of the yeartouring nationally seeing parts of the USI had never been to before doing plays Iloved and working with directors who werevehemently faithful and respectful to the text When I wasnrsquot on the road I was in residenceat the Blackfriars Playhouse in StauntonVirginia with many extraordinary actorsI was very lucky to be thererdquo

Three years ago you were diagnosed

with sarcoma How did you

overcome this enormous challenge

and return to the stage in 2014

ldquoThe only reason Irsquom still alive is because ofmy mother Lily and my wife Jocelynn AlsoI was fortunate that we caught it before it hadspread and it was on my leg and away fromany major organs

ldquoI am very grateful for my team of doctorsat UCSF who did an incredible job in mytreatment and follow-up care Irsquom glad to beback to workrdquo Yoursquore now due to play Richard III

with Marin Shakespeare Company

Howrsquos it going so far

ldquoAt this point Irsquom in the paperwork stage

of things A lot of reading the HenryVI s biographies of Richard as well asperformance history of the play itself Irsquomdoing a fair amount of limping around myapartment as well I canrsquot wait to get intorehearsals next weekrdquo Tell us about Marin Shakespeare

Company and what appealed to you

about working with them

ldquoRobert and Lesley [Currier MSCrsquos Artistic

Director and Managing Director] arefascinating people Their intelligence andhumour is contagious Without questionthere is a lot to be learned from themrdquo Richard IIIrsquos remains were discovered

in 2012 and reburied this year Is all

the new information about Richard

influencing your portrayal

ldquoYes and no My job isnrsquot to play the historicalRichard but the Richard that Shakespeare has

Aidan believesthat Richard IIIrsquosobsession withcontrol is whatcauses his downfall

ldquoPeter OrsquoToole wasmy hero He went to

RADA so I wanted to go there toordquo

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Crowning gloryAidan with MarinShakespearersquosRobert Currier

created Itrsquos helpful to know the facts of thesituation in order to gain insight into whathas been changed in Shakespearersquos versionof events

ldquoI met with a friend of mine who is a

retired surgeon who walked me through themedical information that has come to lighton Richardrsquos body and I will certainly usethat to inform my physical choicesrdquo Unlike many actors yoursquore the right

age to play the historical Richard III

Do you feel Richardrsquos relative youth

has been overlooked

ldquoI do Richard is a young man who believeshe is hardened by the experiences he andhis family endured during the War of theRoses and believes himself to be beyondhuman emotions and the lsquorestrictionsrsquo of aconscience He isnrsquot He pays the bill for thehorrible things he does That lack of self-knowledge is not exclusive to youth but I feelit makes him more sympathetic and relatableto an audiencerdquo Some people think Richard III shows

Shakespeare delivering a highly

effective piece of Tudor propaganda

Where do you stand on thatldquoI think Shakespeare has a soft spot foroutsiders and underdogs Although his playssometimes work within the confines of thebiases of Elizabethan society he canrsquot help butmake his lsquovillainsrsquo fascinating human beings

For as horrible as Richard is itrsquos amazing tosee how audiences relate and respond to himrdquo Which other important themes do

you feel Shakespeare deals with in

the playldquoThe history plays are full of extraordinarypeople who waste their lives and intelligence who sacrifice their humanity in pursuit of thecrown Itrsquos still happening today What is theattraction of power Richard never pauses tothink of why he wants the crown or if hersquodbe any good as king Turns out hersquos not butitrsquos this bizarre obsession with control thatpropels him to kill everyone off thatrsquos in his way Itrsquos also fascinating that the one characterthat is consistently kind to Richard is hisfather York

ldquoI think an argument can be made thatRichard in his warped way is trying to liveup to the image he has of his father Ofcourse York is dead and gone by the timeRichard III begins but you can glean a lotabout Richardrsquos inner workings in the way hespeaks about his father Of course itrsquos foolishto try to answer questions that Shakespearedoesnrsquot and Irsquom not trying to say this solvesa mystery but I think itrsquos interesting Itrsquos only

an element itrsquos not the answerrdquo Richard III is listed as a historical

play in the First Folio but in the

quarto edition it is termed a tragedy

Which category would you put the

play in and why

ldquoI think of the history plays from Richard II to Richard III as one vast play an epic thatencompasses all the categories I think if youlook at Richardrsquos progression through those

plays you see a great mind warped by the War of the Roses and that certainly adds tothe tragic element I think of Richard III asthe final chapter of a great epicrdquo

Aidan OrsquoReilly stars in Marin ShakespeareCompanyrsquos Richard III from 4-27 September

Aidan OrsquoReilly

SHAKESPEARE magazine 37

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Scotland Shakes

SHAKESPEARE magazine 39

Bonnie Prince

Brian Fergusonas Hamlet in theCitizens Theatre

production Photoby Tim Morozzo

Billy William Shakespeare is undoubtedly Englandrsquos

Bard But how is he viewed north of the border

Our Caledonian correspondent surveys the state

of Shakespeare in Scotland and meets esteemed

outdoor theatre company Bard in the Botanics

Words Paul F Cockburn

T owards the end of May thisyear a BBC Scotland afternoon

news bulletin surprisinglyturned its attention to aforthcoming production of

ldquoone of William Shakespearersquos best lovedplaysrdquo ndash A Midsummer Nightrsquos DreamHowever this particular production wasnrsquotconsidered newsworthy because it came froman amateur group based in Dumfries andGalloway Not even that the CrossmichaelDrama Club were one of just seven amateurScottish groups taking part in the Royal

Shakespeare Companyrsquos Open Stages project which aims to help amateur companies

extend their repertoiresNo the lsquohookrsquo was how this newproduction was Shakespeare ldquobut no asyou micht ken itrdquo Because it had beenreimagined in Scots as A MidsimmerNichtrsquos Dreme

As it happens writer John Burns saysthat his principle reason for translating AMidsimmer Nichtrsquos Dreme was simply theintuition that it being in Scots would workto the benefit of the production ldquoItrsquos not

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Scotland Shakes

40 SHAKESPEARE magazine

so much that 16th century English canrsquot docertain things more that using Scots brings itcloser to a Scottish audience and to audiences who might think Shakespeare too fancyrdquo hesays ldquoI feel too that Scots can catch the sheerphysical power of Shakespearersquos language He writes lines you really feel physically when

you say them out loud My intention was touse Scots to produce a text that was actableand which would be accessible and enjoyablefor the audience and the Scots was a majorpart of thatrdquo

Arguably translating Shakespeare intoScots ndash viewed by many as a distinct languagefrom English ndash is just one way of finding thecontinued relevancies of Shakespearersquos writing with the here and now Certainly John Burns was keen to see if Scots ldquocould match the way

Shakespeare switches tonehellip from broad attimes bawdy humour to moments that aremore serious or even sinisterrdquo

Yet there is a wider perspective whether wersquore discussing translation into Scots orsaying Shakespearersquos words with a Scottishaccent Willy Maley and Andrew Murphyin their introduction to Shakespeare andScotland (published by Manchester UniversityPress in 2004) go as far as describing thetranslation of Shakespearersquos Macbeth into

Scots as ldquoa patriotic actrdquo not least becauseof ldquothe political commitment implicit intranslating from English to Scots reversing

the dominant dubbing practice infi

lmsrdquoGlasgow-based novelist and playwright Alan Bissett ndash who actively campaigned fora Yes vote during last yearrsquos IndependenceReferendum ndash has since written about howsince the 1970s Scottish theatre had ldquoadeep engagement with the shifting beastof Scottish politicsrdquo Although Bissett wasfocusing primarily on original works byScottish playwrights and directors itrsquos worthpointing out that Shakespeare ndash despite therebeing absolutely no evidence to prove he evertravelled north of Carlisle ndash has played hisown part in this

As Maley and Murphy point outldquoScotlandhellip never had precisely the samerelationship with the Bard as England hasbut has experienced a fraught process ofappropriation incorporation and resistancerdquoIn part this is because Shakespeare ndash in hislatter career ndash was among the first lsquoBritishrsquo writers Many of his later plays ndash Cymbeline King Lear even Hamlet ndash were produced

A tartan-cladAntipholus andDromio in Bard inthe Botanicsrsquo TheComedy of Errors

Brian FergusonrsquosHamlet CitizensTheatre productionPhoto by TimMorozzo

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under the patronage of Scotlandrsquos King JamesVI (aka James I of England) Each in theirown way can be said to touch on ldquothe matterof Britainrdquo the complex relationship between

the constituent elements of Jamesrsquos newlsquounitedrsquo kingdom which the Stuart monarch was determined to see joined into oneat never quite happened of course

Even after the 1707 Act of UnionScotland retained its own legal educationaland religious systems along with anaccompanying sense of Scottish identity ndash which survived even the height of the Britishempire Yet from the 1970s on there havebeen notable changes in how Shakespeareis treated by Scotlandrsquos producing theatrecompanies Several years ago GlasgowrsquosCitizenseatre delivered a powerful Romeoand Juliet in part because of their decision toset the action in a present-day sectarian Westof Scotland ndash with accents to match

ldquoEnglish-accented Shakespeare carriesa specific resonance in Scotland one thatdirectors usually choose to avoidrdquo pointsout Mark Fisher a freelance journalist criticand author of the forthcoming book How toWrite Abouteatre

ldquoIrsquom not sure exactly when attitudesstarted to change but Irsquod say the argumentin favour of Scottish-accented productionshad been pretty much won by the 1990sBy that time companies such as Raindogand directors such as Hamish Glen hadbeen making a point of casting very Scottishproductions of Shakespearerdquo

One example of how things hadprogressed even by 1992 was the late KennyIrelandrsquos production of A Midsummer

Nightrsquos Dream his first as Artistic Directorat Edinburghrsquos Royal Lyceum ldquoHe castthe mechanicals with Scottish accents andeveryone else with English accentsrdquo MarkFisher explains ldquois I said in my review wasa fundamental error ndash or some such phrasee message it sent out was that people withScottish accents were foolish figures of fun whereas people with English accents wereserious figures of respect

ldquoIreland reacted furiously to my review

and made the case that he had based thecasting of the mechanicals around (the actor) Andy Gray who has a Scottish accent Inother words the meaning I inferred hadnot been deliberate I think itrsquos true to sayhowever that Ireland never cast a Shakespearelike that againrdquo

Gordon Barr is Artistic Director of

Glasgow-based Bard in the BotanicsScotlandrsquos only professional Shakespearecompany (see following pages)

ldquoWersquove never gone out of our way tomake Scottish versions of these texts norhave we gone out of our way to have classicaltraditional voicesrdquo he says ldquoMost of our coreactors have made their careers up here so wethink of them as Scottish actors

ldquoat is important to us to not overlylook outwards for the acting company As

much as possible we work with people who are based in Scotland Wersquore regularlyproducing Shakespeare here and we want tobe a part of the training to ensure that there isa range of strong classical actors hererdquo

Citizens Theatrewwwcitzcouk

Owen Whitehawas the Fool andDavid Hayman asLear in CitizensTheatrersquos King Lear Photo by TimMorozzo

Scotland Shakes

SHAKESPEARE magazine 41

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Bard in theBotanicsrsquo As You Like

It takes Rosalind andOrlando into theopen air

ldquoTouring is something that we have wanted to do foryears but was somethingthat we could not afford

to do without fundingrdquo says Gordon Barr Artistic Director of Scotlandrsquos only professionaloutdoor Shakespeare festival Bard in theBotanics If therersquos any irony attached tothe companyrsquos first major tour of Scotland which took place in early 2015 itrsquos that theperformances of their acclaimed Romeo and Juliet ndash featuring a cast of five ndash were playedexclusively indoors

ldquoNobody is touring classical theatre in

Scotland at the minute so itrsquos importantto usrdquo Barr adds ldquoOur work is so muchabout accessibility One of the joys of beingoutdoors is that people come to see the work who wouldnrsquot buy a ticket for a theatre Ifyou can bring a picnic sit out on the grass while watching the show it feels easier moreaccessible But people canrsquot come from Thursoto Glasgow for a night just to see a productionof Shakespeare They should be able to see itin Thurso So that is kind of where the urge totour came fromrdquo

Bard in the Botanics has presented outdoorShakespeare within the grounds of GlasgowrsquosBotanic Gardens since 2003 This yearrsquoslsquoUnlikely Wondersrsquo season presented newproductions of Loversquos Labourrsquos Lost The Merchant of Venice Richard II and A Midsummer Nightrsquos Dream in lsquoreprsquo between24 June and 1 August

The companyrsquos founder Scott PalmerBarr explains had done a lot of his training atthe Oregon Shakespeare Festival one of the

biggest in North America ldquoWith the kindof drive and enthusiasm that only Americanshave he managed to convince the entire cityof Glasgow that outdoor Shakespeare would work and that the weather wasnrsquot going to be

a problemrdquoTwo years later Palmer moved on and Barr

ndash originally involved as a director ndash succeededhim as Artistic Director ldquoIf anyone then hadsaid that I would end up spending 12 yearsrunning an outdoor Shakespeare festival I wouldnrsquot have believed themrdquo he says in hisoffice hidden behind some of the Botanicsrsquogardening sheds ldquoI very quickly fell in love with it once I started working here Despiteall the trials and tribulations that outdoortheatre in Scotland brings with it therersquos just

something magical and special about it Itrsquos a very close-knit company and thatrsquos sort of keptus all here as long as we have beenrdquo

While the annual summer season ofShakespeare plays in the Botanics will remainat the centre of what the company does ndashldquoOtherwise Bard in the Botanics becomesa rather strange namerdquo ndash Barr is very much

Outof theGarden

This year has seen Glasgowrsquos Bard in the Botanicsdo something completely unexpected They wentout on a tour of ndash whisper it ndash indoor venueshellip

Scotland Shakes

42 SHAKESPEARE magazine

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Scotland Shakes

SHAKESPEARE magazine 43

focused on building on the touring side ldquoBecause it was our first ever tour we

did end up taking Romeo and Juliet to theestablished Scottish touring circuitrdquo he addsldquoIt takes a while to build up relationships with the smaller venues thatrsquos going to bean ongoing process for us Even so we weretaking Romeo and Juliet to places like Mulland Stranraer ndash communities and venues thathavenrsquot had a lot of classical theatre comingthrough themrdquo

The choice of play was deliberate too ldquoIt was a production that was ready to go whichhad received five star reviews and sold out itsextended run in the Botanics in 2012 So weknew that the work was good but therersquos nodoubt that for a first tour we wanted to makeit easier for the venues to sell it Most venuesknow they can find an audience for Romeo and Juliet rdquo

In time he hopes that audiences aroundthe rest of Scotland will come to trust the Bardin the Botanics name sufficiently to take on theless familiar plays

ldquoYou just donrsquot know how quickly acommunity is going to turn out for Henry IV yetrdquo he says ldquoHopefully three or four toursdown the line theyrsquore going to turn out forBard in the Botanics ndash and if it happens to be

Henry IV well thatrsquos greatrdquoGiven their reimagining of A MidsummerNightrsquos Dream as a 1920s burlesque musicalis there a particular Bard in the Botanicsapproach to Shakespeare

ldquoOur kind of unofficial motto is lsquoBe BoldBe Braversquordquo Barr says ldquoIf wersquore continuingto stage these plays around 400 years afterShakespearersquos death I think therersquos an urgencyto ask lsquoWhyrsquo It is important to questionlsquoWhat is the story that we want to tellrsquo I wantto see how these plays intersect with historyand todayrsquos society not to present museumpieces

ldquoItrsquos always with an eye to try to releasesomething thatrsquos within the textrdquo Barrinsists ldquoWersquore not remotely interested ininnovation for innovationrsquos sake The playsare masterpieces thatrsquos essentially why wersquorestill doing them 400 years later But to revealsomething thatrsquos unexpected or new thatrsquosimportant to usrdquo

Bard in the Botanics

wwwbardinthebotanicscouk

Rosalind and Audreyin the forest Bardin the Botanicsrsquo As You Like It

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Shakespeare at the Tobacco Factory stf 2016 Seasonco-production with Tobacco Factory Theatres

HAMLETBy William Shakespeare

Directed by Andrew Hilton

Main run Thu 11 February ndash Sat 26 March 2016

In repertoire with Allrsquos Well That Ends WellMon 25 ndash Wed 27 April Sat 30 April 2016

The most famous play in world drama Hamlet

turns a new face to every decade So many

elements - political madness sex murder ndash all

brought together in a drama that is both a thriller

and the profoundest meditation on our human

condition

ldquoThrilling workrdquo The Guardian on Romeo amp Juliet

ldquoBullseyerdquo WhatsOnStage on Romeo amp Juliet

Shakespeare at the Tobacco Factory Friends Priority Booking opens Wed 23 September 10am

wwwstf-theatreorguk

Tobacco Factory Theatres Members Priority Booking opens Wed 16 September 10am

wwwtobaccofactorytheatrescom

Public Booking opens Wed 30 September 10am

Tobacco Factory Box Office 0117 902 0344

ALLrsquoS WELL THAT ENDS WELLBy William Shakespeare

Directed by Andrew Hilton

Main run Thu 31 March ndash Sat 23 April 2016

In repertoire with Hamlet

Thu 28 ndash Fri 29 April Sat 30 April

A young woman using skills bequeathed herby her father saves the French Kingrsquos life and

is rewarded with the right to choose her own

husband But what if the chosen one wonrsquot play

the game How can she get him into bed How

can she make him love her

ldquo There is something approaching real

magic hererdquo The Arts Desk on The School for Scandal

P h o t o s M

a r k D o u e t

Dorothea MyerBennett in Richard III

Benjamin Whitrowand Julia Hills in The

School For Scandal

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Having conquered

Hollywood and vanquished

the global entertainment

industry video games now

on our culture So where

does the Bard stand in all of

this We sent a Shakespeare

scholar to investigatehellip

Words Andrew Bretz

Shakespeare video games

46 SHAKESPEARE magazine

T eGamersquos A oot Silent Hill is one

big-name gamewhich includesShakespearereferences

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Shakespeare video games

SHAKESPEARE magazine 47

German cardboard Macbeth datingfrom the early1800s

Hamlet reimaginedRyan Northrsquos To Be

Or Not To Be

W

hen you walk intothe wood panelled Victorian Gothicismof the Gail Kern Paster

Reading Room at theFolger Shakespeare Library in WashingtonDC video games are probably the lastthing on your mind Buried deep withinthe archives however are a set of fragilecardboard figures printed in Germany in theearly 1800s representing each of the maincharacters of Macbeth

Nineteenth century German children would play with these figures on smallcardboard stages no bigger than a dollhouseey could replicate the story as it was toldin Shakespeare or use their imagination tochange the ending letting Lady Macbethsurvive and bringing Duncan back from thedead if they so chosee limits of the game were the limits of their imagination

Today the lsquogamificationrsquo of Shakespeareis a big business from Ryan Northrsquos choose-your-own-adventure edition of Hamlet To Be Or Not To Be to IDW Gamesrsquosupcoming Kill Shakespeare board gamebased on the comic of the same name

Gamifying Shakespeare is filtering intoschools libraries and the theatrical worldas well with the University of California atDavis the Stratford Festival in Ontario theGlobeeatre in London and the LondonMetropolitan Archives all experimenting with video game elements in exhibits productionsand research

Why video games In a sense this is thelogical next step in the media development ofShakespeare Hersquos everywhere in other media

books movies merchandise But videogamese answer for that depends on whoyou ask

StorytellingOccasionally individuals or publishinghouses develop video games that try to tellthe story of say Hamlet yet this is relativelyrare One example would be Elsinore a time-looping narrative adventure game set in the world of the play Players play the game as

Ophelia who wakes up knowing that in fourdays the entire court will be dead and shemust do something to stop ite problemis that she is stuck in a time loop reliving thesame four days over and over againat said Shakespearersquos presence in the

video game industry tends to be focused oncitation rather than adaptation of the playsat is video games for Xbox Playstationand other popular gaming systems often

just cite Shakespearersquos plays as a part of acommon cultural heritageese games donrsquotrestage say Hamlet but they quote the playIn these cases Shakespeare is used to establisha point of identification for the audience His writing tells the audience something aboutthe character or the situation

Given that audiences are supposedto be able to identify the quotations asShakespearean it is unsurprising that Hamlet is the most popular text for game designers to

cite Ine Elder Scrolls Online for instancea merchant NPC (non-player character)quotes Polonius when players interact sayingldquoNeither a borrower nor a lender berdquoe words establish the NPCrsquos role as a merchant while fitting the medieval world of thegame In the game LA Noire upon pickingup a fake shrunken head at a crime scene adetective leaps into high melodrama withldquoAlas poor Yorick I knew him Horatiordquoequotation and the clever voice acting establish

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Shakespeare video games

48 SHAKESPEARE magazine

the characterrsquos strait-laced yet macabre senseof humour

Sometimes citing Shakespeare is a partof a critique of a larger theme In the game Mass E ff ect the Elcor are a race of elephantinealiens who preface all statements with adescription of the emotion they are feelingand who speak in a slow monotonous drone As players interact with the expansive worldthey can discover a number of advertisementsfor an all-Elcor Hamlet e idea of theElcor actor ndash the ultimate in a flat woodenperformer ndash having to preface ldquoTo be or not

to berdquo with ldquomorose ruminationrdquo goes beyondthe simple humour of a bad Shakespeareperformance It subtly asks what it is aboutacting (and especially voice acting) that isvaluable

Shakespeare can appear in video gamesnot merely as a marker or contextualisationtool but as a part of a puzzle For example inthe game Silent Hill 3 players must arrange aset of Shakespeare anthologies on a bookshelfin an abandoned shopping mall in order to

proceed in the game At the hardest levelthe puzzle clue takes the form of a poemthat references all the major tragedies Romeoand Juliet King Lear Macbeth Othello andof course Hamlet e bloody nature of thetragedies fits with the bloody nature of theSilent Hill series of games which fall into thesurvival horror genre

Popular video games have also servedas the inspiration for games that engage with Shakespeare in a more direct way For

example Daniel Fischlin at the Universityof Guelph in Ontario Canada led a teamthat created a Flash game called rsquoSpeare Itrsquos

a scrolling arcade-style game suggesting thersquo80s hit Galaga which sees players identifyingand navigating through a series of enemies who turn into words upon being destroyede player progresses through the levelsby collecting the correct words to createShakespearean quotes learning Shakespeareantrivia along the way

ImmersionOne of the most exciting aspects of videogames is the ability to immerse the player inthe world of the game in a way that othermedia simply cannot do Being able to walkaround Prosperorsquos cell Julietrsquos balcony orto stand before the ghost of Hamletrsquos fatheras he cries out ldquoList list O listrdquo ndash theseexperiences are made possible through videogame technology

Students of Scenic Arts at the Universityof Hildesheim in Germany created Projekt ARIEL or SturmMOD in 2008 using a lsquomodrsquo(or modification) to the engine that runs

the game Far Cry 1 e performance artproject allowed users to experience Prosperorsquosisland interacting with certain parts andexploring others Players could walk aroundan imaginative rendition of Prosperorsquos cell and witness or interact with elements of the playincluding diff erent characters like CalibanProspero and Miranda

Four days to savethe Danish court

Elsinore

Another Hamlet reference this timein LA Noire

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Shakespeare video games

SHAKESPEARE magazine 49

Gina Bloom at the University of Californiaat Davis is presently spearheading a projectthat will be demonstrated in the lobby of theStratford Festival theatre in Ontario Canadathis summere project Play the Knave AShakespeare Performance Videogame lets usersdesign a virtual performance space and thenperform a scene from a Shakespeare playinhabiting this constructed space with anavatar As a Davis insider explains ldquoWe use akinect motion capture camera to capture theuserrsquos skeletal data so that players use theirentire bodies to control their avatarrsquos gesturesonscreen all the while reciting the lines from

Shakespearersquos scenerdquo is literally immersesthe players in the scene

Shakespearersquos Globe eatre in Londontook another tactic regarding immersionin the production of the game HemmingsrsquoPlay Company Hosted on the Playgroundportion of the Globersquos website and thusaimed at an audience of children the gamehas players taking on the role of Hemmingsan Elizabethan bear who leads a troupe oftheatrical animals such as Kit the Cat Dekker

the Dog and Slye the Foxe turn-based game leads players through

the vagaries of Elizabethan theatre practicefrom patronage to lost props and the plagueBy the end of the game players must earnenough money to rebuild the Globe after itburns down during a performance of HenryVIII

Also from Shakespearersquos Globe are twoinnovative video experiences created forchildren aged five to 11 e first Exploring

Shakespeare features two boys on a tour ofthe Globe theatre who sneak off to explorebackstage e video illustrates four plays

using short animations that are keyedto things the boys find backstage etechnology combines live action film andanimation to create an interactive touchablegame Filled with mini-games quizzes andinteresting facts about Shakespeare the gameallows players to click through the narrativeor to stop and learn more as they go along

e second video called Staging It usesthe same technology as the first film but thistime is for the 11-16 age group In this gamee Globe has filmed two actors performingfamous duologues from A MidsummerNightrsquos Dream and Macbeth on the Globestage Rather than shoot it once the actorshave performed their lines in diff erent ways(happy flirtatious defensive and so on)creating several diff erent clips per linePlayers can watch each of the clips and addtheir choice to a dynamic storyboard tobuild up their final scene Impressively theplatform allows for up to 1000000 diff erentcombinations of clips

Apps and Mini-GamesItrsquos when you start to look outside of therealm of popular video game platformslike Xbox or Playstation that Shakespeare

Silent Hill 3 Brush upyour Shakespeare ifyou want to survive

Hemmingsrsquo PlayCompany fromShakespearersquosGlobe

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Shakespeare video games

50 SHAKESPEARE magazine

really starts to pop up wherever you looke ubiquity of Shakespeare is especiallynoticeable when you start to look at apps andmini-games designed for phones and tablets

In 2012 Big Fish Games released aniPhone and iPad game called Hamlet that featured all the main characters ofShakespearersquos play but transposed them intoa save-the-princess narrative puzzle game A time traveller lands in Denmark andaccidentally kills Hamlet and so players mustcomplete his journey for him saving Opheliaand killing Claudiuse Shakespeareancontent is minimal and heavily adapted andyet it fits with the puzzle format in whichShakespeare tends to be found in videogamese Chronicles of Shakespeare Romeo amp

Juliet ande Chronicles of Shakespeare A Midsummer Nightrsquos Dream are lusciously-illustrated puzzle games for the PC In themplayers act as one of the characters from theplays gathering items and clues through aShakespearean environment

Among the literally thousands of appsrelated to Shakespeare that can be found forthe iPad or Android tablet are

e Shakespearean Insult Creator which generates invectives drawn from a wholly Shakespearean vocabulary So nexttime you want to call someone a jerk trysomething more like ldquoou fusty follyfallenfustilarianrdquo

e Shakespeare Translator whichtranslates ldquonormal English words and phrasesinto the words of Shakespeare himselfrdquo

e Shakespeare Fortune Cookie which provides short quotes from the plays

and a small trivia game Shakespeare or Die a game that

scrambles the words of famous quotationsfrom the plays and asks you to identify theplay and character who spoke the line If youmake a mistake however beware the witchesese apps are either explicitly games or

they are coming out of a game-like impulse tomake Shakespeare more accessible to everyone with an internet connection

Brave New WorldsIn a world where Shakespeare is an industrycounted in the millions of dollars per yearit is so easy to forget that Shakespearersquos playsare just that ndash playsere is a sense of joyand fun and happiness embedded in theexperience of watching them Games are oneof the ways that people over the centuries

have tried to recapture that elusive sense ofplayfulness within Shakespeare So it makesperfect sense that now with the advent ofdigital technologies Shakespeare is movinginto the digital world with a vengeance

From big studio games likee ElderScrolls to small apps that can be downloadedfor free from talking bears to immersiveperformance experiences Shakespeare iseverywhere in video games Rather than beingan undiscovered country into which the Bard

is only just beginning to emerge games havein fact engaged with Shakespeare and his works for hundreds of years And they willprobably continue to do so for hundreds ofyears to come

rsquoSpeare is a scrollingarcade-stylegame with addedShakespeare trivia

Hamlet is aShakespeare-themed puzzle fromBig Fish Games

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Meet thy makers

Helen Mears fell into bardolatryduring her teenage years and has

never recovered She is a volunteersteward at Shakespearersquos Globe

which ensures a regular diet of theBard She teaches English Film andMedia at Suffolk New College and isa specialist in teaching Shakespeareusing active methods Her favouriteShakespearean actor is Jamie Parker

and her favourite plays are the SecondHistory Tetralogy She hopes to

finish her Masters in the AdvancedTeaching of Shakespeare very soonFind her on Twitter hipster_hels

Paul F Cockburn is an Edinburgh-based freelance magazine journalist who specialises in writing about

arts and culture equality issues andpopular science Hersquos sufficiently

grey-haired for his English Literaturetraining to have sort of overlapped

with The BBC Television Shakespeareproject saving at least some of the

plays from death by academiaFind him on Twitter paulfcockburn

Jen Richardson first fell in love withShakespeare as a 15-year-old schoolgirl

ldquoHe got under my skin and hersquos still theretodayrdquo After training with a Manchester-based drama tutor she went on to pursuean acting career Drama remains a greatinterest but her focus is now on sharing

her passion for Shakespeare throughher writing In her spare time Jen is

generally down in Stratford-upon-Avonsitting on her favourite bench behind

Holy Trinity ChurchFind her on Twitter The_JenJen

Andrew Bretz is a sessional instructorof English Literature and Drama

specialising in early modern dramaHe has taught at Wilfrid LaurierUniversity the University of Guelph

Brock University and McMasterUniversity For the past two years he

has taught a special summer intensiveat Ontariorsquos Stratford Festival His PhDdissertation was on the representationof sexual violence on the early modern

stage Find him on TwitterAndrewBretz001

Just some of the contributors to this issue of Shakespeare Magazine

Rosalind Lyons is a painter whohas exhibited widely in both mixedand solo shows with work in UK

and international private collections A life-long love of Shakespeare isreflected in many of her paintings

and a particular recent focus isShakespearersquos Globe theatre where shespent a period as artist-in-residenceShe is currently studying for a PhD

in Painting and ShakespeareanTheatre at Anglia Ruskin University

in CambridgeFind her on Twitter roslyons

52 SHAKESPEARE magazine

Contributors

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Page 8: Shakespeare Magazine 08

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Benedict Cumberbatch

8 SHAKESPEARE magazine

and Romeo and Juliet playing Orlando andBenvolio respectively

Shakespeare does not feature again inCumberbatchrsquos CV Instead he worked his way through acclaimed TV work such as hisportrayal of Steven Hawking in 2004 bio-drama Hawking and his role as the troubledartist Vincent Van Gogh in 2010rsquos VanGogh Painted with Words and film roles in Atonement (2007) and The Other Boleyn Girl (2008) before breaking big in 2010 with theBBCrsquos Sherlock The programme was a world- wide success and propelled Cumberbatchonto the acting A-list Since then he hasfeatured in Star Trek Into Darkness (2013) 12Years a Slave (2014) and two of the Hobbit films (2013-14) in which he voiced thedragon Smaug He also made a huge successof The Imitation Game (2014) in which heplayed codebreaker Alan Turing

Now Benedict is returning to Shakespeare with vengeance with two major roles on

stage as tragic hero Hamlet and on BBCTV as arch-villain Richard III in The HollowCrown The Wars of the Roses A taster came inthe BBCrsquos Lifetime of British Drama promo where he beautifully recites the Seven Agesof Man speech from As You Like It over clipsfrom classic BBC dramas past and present

Incredibly Cumberbatch is himself adistant descendant of Richard III The actorread Carol Ann Duffyrsquos specially-composedpoem lsquoRichardrsquo at his ancestorrsquos re-interment

at Leicester Cathedral in March 2015 Hefelt honoured to have been involved and itseemed particularly apt that he was filmingthe role of Richard at the time of thishistoric event ldquoHaving just played his verydifferent Shakespearean characterisationrdquo

Benedict will beseen as Richard IIIin the second cycleof the BBCrsquos The

Hollow Crown

B enedict Cumberbatchrsquos professionalrelationship with Shakespeare began early inhis career back in 2001 He appeared in theNew Shakespeare Companyrsquos productions inRegentrsquos Park playing the King of Navarrein Loversquos Labourrsquos Lost and Demetrius in A Midsummer Nightrsquos Dream As he told Whatrsquos

On Stage in 2005 ldquoThey were my first twoprofessional roles in the theatrerdquo In theinterview he also stated that Shakespeare was his favourite all-time playwright Thispresumably influenced his decision to returnto Regentrsquos Park in 2002 for As You Like It

ldquoYou wouldnrsquot look twice at Richard Hersquos avery dangerous charming powerful manrdquo

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Benedict with MartinFreeman (left) in theBBCrsquos Sherlock

Rehearsals forHamlet July 2015

Benedict Cumberbatch

SHAKESPEARE magazine 9

he commented ldquoI was intrigued to see whatthe real historical event would be like andto be a part of this extraordinary moment ofremembrance Then what really sealed thedeal was this beautiful poemrdquo

Benedict feels that the discovery ofRichardrsquos remains has changed peoplersquosperceptions ldquoI think the debate in historicaland archaeological terms about the reality ofhim and his kingship is whatrsquos extraordinaryto witness nowrdquo

He also recognises the perilous appealof Shakespearersquos Richard ldquoYou wouldnrsquotlook twice at him necessarilyrdquo he said ldquobutonce he had you in his beamhellip Hersquos a verydangerous charming powerful manrdquo

Cumberbatch was boldly instrumentalin Dame Judi Denchrsquos appearance in TheHollow Crown The Wars of the Roses Heattended a Shakespearean workshop eventat which the veteran actress was appearing When the audience were asked if they hadany questions he leapt into action askingldquoWould you like to be in Richard III withmerdquo Dame Judi naturally accepted

And fans of Sherlock will already knowthat Andrew Scott who played criminalmastermind Moriarty will also be appearing

in The Wars of the Roses as the French KingLouis

But itrsquos Cumberbatchrsquos run as Hamlet

at Londonrsquos Barbican that is arguably the Shakespeare event of 2015 It sold out inrecord time (although the venue promisethat day tickets will be available for eachperformance) as fans worldwide foughtfor their chance to see Benedict play theDane It is clearly the fruition of a dream forCumberbatch Indeed when asked at 2012rsquos

Cheltenham Literary Festival which play he would choose if he could only perform onemore stage role he opted for Hamlet ldquoEveryactor wants to have a go at itrdquo he said ldquoand I want to have my go at it and I will But wersquore working out when and howrdquo

Well the ldquowhen and howrdquo is right nowBenedict Cumberbatchrsquos career has come fullcircle from his first professional performanceof Shakespeare to playing his dream role Ifyoursquore lucky enough to have a ticket yoursquoll

be witnessing the most talked-about andfeverishly-anticipated theatrical event in yearsIf not therersquos always those queues for daytickets Wersquoll see you there

Hamlet runs at the Barbican Theatre

London until 31 October

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Shakespeare On Sale

SAVE 25 Since 1941 Dover Publications has built its reputation by offering remarkable books at

amazing prices Discover our fine catalog of the works of William Shakespeare

The complete collection of comedies historiesand tragedies all in compact 5rdquo x 8rdquo unabridgedpaperback editions The lowest-priced editionsavailable for todayrsquos educators students actorsand Shakespeare lovers of every kind

Complete and unabridged text of a play plus acomprehensive study guide with scene-by-scenesummaries explanations and discussions of the plota question-and-answer section and more

Calla Editions reg Books of Distinction for the Contemporary Bibliophile

Our premium imprint features impeccable hardcover reproductionsof some of the most beautiful books ever published Filled with

breathtaking artwork and other deluxe features each Calla Editionrecalls a time when bookmaking was considered an artform

wwwdoverpublicationscomwilliam-shakespeare

To SAVE 25 Click Here

NO minimum order required bull Use CodeWLA2 at checkout bull Expires 123115

P l u s M or ehellip

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G A L L E R Yamp R E V I E WFor a generation of Cumberbatch fans lsquoBenedict at the Barbicanrsquo is the

most sensational and controversial Shakespeare production of a lifetime

Images Johan Persson Words Liz Barrett

Hamlet

ldquoTo be or not to be ndashthat is the questionrdquo[III 1] Controversially the playrsquos most iconicspeech was moved to the beginningAs we went to press however thisdecision had apparently been reversed

Benedict Cumberbatch

SHAKESPEARE magazine 11

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Benedict Cumberbatch

12 SHAKESPEARE magazine

ldquoA villain kills my father and for thatI his sole son do thissame villain sendTo heavenrdquo [III 3]

ldquorsquoTis in mymemory lockrsquod And you yourself

shall keep the key of itrdquo[I 3] Ophelia (Siacircn Brooke)

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Benedict Cumberbatch

SHAKESPEARE magazine 13

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Benedict Cumberbatch

16 SHAKESPEARE magazine

ldquoAnd yet to me whatis this quintessence

of dustrdquo [II 2]

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Even more than London there

is one place above all that is

green and pleasant landhellip

Words Helen Mears

Pictures Helen Mears and Susan Braund

Stratford-upon-Avon

SHAKESPEARE magazine 19

W e could be in any smallpicturesque Englishtown with its medievalchurch half-timberedTudor buildings shops

restaurants and delightful riverside walksBut Stratford-upon-Avon is not just any

town Itrsquos one of the best-known most- visited and probably most-loved locations inEngland Thatrsquos because itrsquos the birthplace of William Shakespeare Itrsquos also the place heseems to have considered his home After allShakespeare grew up there went to schoolthere and spent his final days there

So here is Shakespeare Magazinersquos on-the-ground guide to Stratford-upon-Avon Hereyoursquoll find hints and tips for first-time visitorsand returning aficionados alike What to see

the best ways to see it where to stay where toeat and how to get around while yoursquore there Are you ready Then letrsquos start our tourhellip

The BirthplaceSurely the must-visit spot for any self-respecting Bardolator this is where it all beganndash the six-roomed Merchantrsquos House on HenleyStreet where in April 1564 Mary Shakespeare wife of glover John gave birth to their famousson Williame house is approached

HOME

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20 SHAKESPEARE magazine

through the Shakespeare Centre on the left-hand side of the Birthplace A short exhibitionshows you items such as a prized First Folioand the foot of Stratfordrsquos Old Market Cross

from where glover John Shakespeare wouldhave sold his wares A walk through the gardens leads to

the house itself You enter through theself-contained annexe where William and Anne Shakespeare spent the first years oftheir married life and where their childrenSusannah Judith and Hamnet were born eannexe was later occupied by Williamrsquos sister Joan You can walk through the parlour andthe dining room to Johnrsquos workshop where heproduced gloves and other leather goods

A staircase leads to two bedrooms onefor the girls one for the boys and a loft spaceis visible where the apprentices would haveslept Finally you reach the birth room themain bedroom in which William and his sevensiblings were born

Guides are on-hand in all rooms to tell youtheir history and other gems of informationComplete your visit by watching classicShakespearean speeches performed in thegarden by resident acting troupe Shakespeare

Aloud and then picking up some souvenirs inthe gift shop and excellent bookshop

e five house ticket is the best value givingyou entry to all of the properties (HarvardHouse is a current alternative to New Place)and allowing you to view Shakespearersquos Gravein Holy Trinity Church

The Avon and Boat trips A walk along the Avon is a must in any seasone gentle stroll from the RSC to Holy Trinity

Church will take you past drooping willowssmoothly sailing swans and green parklandFor a diff erent perspective on the town you cantake a boat trip along the river itself Startingfrom near the RSCeatre you cruise gentlydown to the church where Shakespeare wasbaptised and buried before turning back andheading past the theatre and under CloptonBridge Itrsquos a bridge that William himself would have known built as it was around1480 e Avon is very pretty everywhere

you look are the incredible tame (and alwayshungry) swans and picturesque houseboatse banks are lined with weeping willows that just might have been the inspiration for poorOpheliarsquos watery end in Hamlet If you wouldrather take a slower self-driven trip there arerowing boats canoes and small speedboatsfor hire Beware though these are not aseasy to control as they look and you may wellspend a good proportion of your allottedtime relearning how to row and avoiding

Stratford-upon-Avon

The birth roomat ShakespearersquosBirthplace

Molly fromShakespeare Aloudin the Birthplacegarden

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SHAKESPEARE magazine 21

other hapless river tra ffic Boat trips typicallylast for around 40 minutes and are especiallypleasant in the late afternoon when the sun setsslowly behind the church steeple For addedluxury you can take a restaurant cruise where

afternoon tea or an evening meal are served onboard or as a quicker cheaper alternative youcould take the chain ferry across the Avoneferry dates from 1937 and is the last of its kindin the UK

Nash House and New Place

As well as the Henley Street property theShakespeare Birthplace Trust care for fourother locations in and around Stratford allassociated with Williamrsquos family Nash House

and New Place were adjoining propertieseformer was the home of Judith Shakespeareand her husband while the latter was thefamily home that William purchased in 1597at the time the second most expensive housein the town Sadly it was demolished by asubsequent owner but the Trust are currentlyundertaking a massive renovation of the siteis means that the properties will not be opento the public until 2016 to coincide with the400th anniversary of Shakespearersquos death

Hallrsquos Croft

A brief walk from New Place will take youto Hallrsquos Croft the home of SusannahShakespeare and her husband the physician John Hallis is an interesting property in its

own right and is partly set up to show how apractising physician would have worked at thetime A special mention too must goe Arterthe award winning independent craft shopadjoining the building and to the beautifulgarden in which open air performances ofShakespearersquos plays are sometimes performed

Stratford-upon-Avon

Holy TrinityChurch viewedfrom the Avon

Nash House andNew Place

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22 SHAKESPEARE magazine

Anne Hathawayrsquos Cottage A short distance from Stratford is Shottery where you can find the beautiful cottage

which was the home of the Hathaway familySet in yet another lovely garden this is thehouse in which Anne Hathaway grew upand was courted by the young William JohnShakespeare served with Anne Hathawayrsquosfather on the town council so their childrenprobably knew each other from a young agee family remained associated with thecottage for several centuries and have spunmany a yarn about the young lovers theveracity of which are highly questionable

However the stone floor of the kitchen isoriginal and we know that William must have walked those stones many many times

Mary Ardenrsquos Farme last of the Shakespeare properties is Mary Ardenrsquos Farm Shakespearersquos mother lived hereand itrsquos where she probably took the infant William when plague broke out in Stratfordshortly after his birth Open from March toNovember only the farm is run as a working

Tudor farm with costumed guides caring forthe buildings and the animals Itrsquos a great placefor a family day out with plenty to see and doand numerous activities runningere are

daily falconry shows archery animals to feedand games to play You can even treat yourselfto a genuine Tudor meal in the cafe ndash pottageand home-baked breads are a speciality

What if you donrsquot have a care town itself is fairly small and all themain attractions are within walking distanceHowever the easiest way to get around and toenable a visit to Anne Hathawayrsquos Cottage andMary Ardenrsquos farm is to the Hop On-Hop Off City Sightseeing busis will take you to allthe main town locations and also to Shotteryand Wilmcote A day ticket will give youunlimited access to the buses and allow you tovisit all of the Shakespeare properties e buscan be picked up by the statue of Touchstonethe jester at the top end of Henley Street

Walking Tours Another excellent way to see the main sites ofStratford and to learn some of the historicaltales of the town is to take a walking tour

Stratford-upon-Avon

Anne HathawayrsquosCottage

Mary Ardenrsquos Farm

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ere are several options depending on thetype of tour yoursquod likee town guides runhistorical tours of the town every day (yesevery day) of the year For those who like to be

a bit more daring there are evening ghost walksled by costumed guides who will tell you someof the spooky tales of Stratford Both of thesetours start from the Swan Water Fountain onthe riverside

Or if you like the idea of being guidedby Shakespeare himself on a Saturday (andMonday to Saturday through the summerholidays) there are town walks led by the manhimself (or someone who looks an awful lotlike him)ese run from Tudor World onSheep Street an interesting museum in thehouse that belonged to the man who wasallegedly the model for Sir John Falsta ff

Holy Trinity Church Another must-see is the townrsquos 13th centurychurch with its distinctive spire that dominatesthe view from the river Remember that if youhave a ticket to the Birthplace properties yourvisit to the grave is free e church is famousfor being where William Shakespeare wasbaptised on 26 April 1564 e old font that

was used for the baptism is displayed in thechancel along with copies of both the registerof baptism for April 1564 and the register ofburials for April 1616 where Shakespearersquosname can be clearly seen Also in the chancelin front of the altar are the Shakespeare familygraves Williamrsquos bears its infamous curse

ldquoGOOD FRIEND FOR JESUSSAKE FOREBEAR

TO DIGG THE DVST

ENCLOSED HEREBLESTE BE YE MAN YT SPARESTHESE STONES

AND CURSED BE HE YT MOVESMY BONESrdquo

On the wall above the grave is the effigy of

Shakespeare Itrsquos one of the few images which was produced within the lifetime of AnneShakespeare and probably one of the mostauthentic likenesses of her husband

The Guildhall and King EdwardrsquosSchoolDirectly opposite the site of New Place standthe Guildhall and the townrsquos old grammarschool Both of these places have links to theShakespeare family King Edwardrsquos Schoolis where the young William is believed tohave studied and itrsquos probably where hefirst encountered the classical texts which soinspired him As the son of a town councillorhe would have been entitled to a placee

old school is sometimes open to visitors at weekends or during the holidays but theschool has just won a lottery grant whichshould enable them to open it as a permanentattraction e Guildhall was sometimes hostto groups of travelling players and so it couldbe the site where young William first sawtheatrical performances It is widely believedthat John Shakespeare owing to his role astown bailiff was responsible for supervising the whitewashing of the medieval Doom Painting

Stratford-upon-Avon

SHAKESPEARE magazine 23

The GuildhallDoom Painting

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24 SHAKESPEARE magazine

Stratford-upon-Avon

is has been recovered and is now once againvisible above the chancel arch

The Royal Shakespeare CompanyTheatre and the riversidee riverside park is home to several interestingsights It is from here that you can get a view ofthe Clopton Bridge pick up a river cruise feedthe swans and admire the Gower Memoriale memorial was presented to the town in1888 and features a statue of Shakespeareseated upon a plinth overlooking statues offour of his best known charactersese areHamlet Prince Hal Sir John Falsta ff and Lady

Macbeth who represent Comedy HistoryPhilosophy and Tragedy Closer to the theatreis the beautiful Swan Water Fountain unveiledin 1996 If you see the water frothing fear notit seems to be a sport amongst local youngstersto fill the fountain with washing up liquid on aregular basis

e Royal Shakespeare Companyeatre was built in 1932 but has recently undergonea complete refurbishment in both the mainand the Swan theatres e building reopened

in 2010 with both theatres having beenconverted to boast thrust stages and curvedgalleries similar in shape to the originalElizabethan playhousese world renowned

Royal Shakespeare Company performshere throughout the year staging plays byShakespeare and his contemporaries as well asby newer authors ey also run an educationprogramme exhibitions family activitiesduring the school holidays and theatre toursTo see Stratford from an entirely diff erentangle take the lift up the 36 metre high towerfor spectacular views across the town

Where to eat and drinkStratford has an excellent range of eateriesto suit all tastes and budgets ere is pubgrub afternoon teas world cuisine finedining pizza pasta and fish and chips Manyrestaurants off er pre-theatre menus and ifyoursquove been on a town walk you may find thatyou can get discount vouchers for your foodere are many pubs in Stratford including theGarrick Inn the oldest pub in the town whereyou can taste the Shakesbeer specially brewedto celebrate Shakespearersquos 450th Birthday in2014 If you want to spot RSC cast members

relaxing after their showse Dirty Duck on Waterside is the place to drink

Where to stay Again Stratford-upon-Avon has a good varietyof hotels bed and breakfasts and holidayhomes All the main chains have hotels inthe town from budget brands to the luxurynamesere is an excellent choice of bedand breakfast establishments in and aroundthe town again these will suit all tastes and

budgets Airbnb also has an interesting rangeof rooms flats and houses to rent in StratfordHowever be sure to book early especially forthe prime summer months

The Shakespeare Birthplace Trustwwwshakespeareorguk

The GowerMemorial Will andPrince Hal

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M

any places around the worldhave been named afterStratford-upon-Avon thebirthplace and home of William

Shakespeare And many of those Stratfordsare home to theatre festivals of varying sizesStratford in the state of Victoria in Australiahas an annual Shakespeare festival still goingevery year while Stratford in Connecticut inthe USA had a major theatre from the mid1950s to the mid 1980s Stratford Ontarioin Canada however stands out among thesetowns and festivals not merely in scope but ininternational reputation and prestige

In 1950 Canada had no home-growntradition of classical theatre Certainly

Shakespeare was performed but there hadbeen a strong anti-theatrical movement inCanada throughout the 19th century whoseeffects still lingered throughout the first half ofthe 20th As a cultural icon Shakespeare wasedifying to be sure but certainly not to beperformed The Stratford Festival changed allof that for Canada

In the late 1940s the local newspapers andgovernment of the town conceived of the ideaof revitalising Stratfordrsquos sagging economy by

capitalising on the name of the town and its

long association with the Bard They bandedtogether and under the leadership of TomPatterson they brought over Tyrone Guthrieand Alec Guinness for the first season in1953 Guthrie had famously directed Gielgud

inHamlet

at Elsinore Castle in Denmarkand had been the manager of the Old Vic inLondon He wanted to create an acting spacethat echoed the original Globe theatre whereactors were surrounded by the audience incontrast to the proscenium arch theatres thatdominated the London and New York scenes

From the first performance which tookplace inside a giant circus-style tent on thebanks of the Avon River the festival workedto create a new aesthetic of Shakespeareanperformance The thrust stage of the FestivalTheatre designed by Tanya Moiseiwitschhas been recognised as one of the greatinnovations in stage design of the 20th centuryGenerations of actors have had to learn howto address an audience on three sides of themsometimes only an armrsquos length away

The festival has been central to the careersof Canadian actors such as ChristopherPlummer Martha Henry and even WilliamShatner Actors from the US and UK havesought to play the festival as well including

Peter Ustinov Christopher Walken and JessicaTandy Indeed these international stars notonly lend credibility but have indelibly markedthe festival For instance Maggie Smithrsquosperformance as Rosalind in As You Like It inthe 1977 and 1978 seasons is legendary in thecompany and the town

Today the festival has expanded to includemultiple performance spaces a theatre schooluniversity accredited courses and the largesttheatrical costume shop in North America

It has started countless careers inspiredcompanies such as Torontorsquos SoulpepperTheatre and helped shape the Canadiantheatre landscape for over 50 years

Stratford Festival ndash Ontario Canada

wwwstratfordfestivalca

MEANWHILE

IN CANADATherersquos more than just one Stratford you knowAnd the one in Ontario Canada has a world-renownedShakespeare Festival gives us a tour

Stratford Ontario

SHAKESPEARE magazine 25

ldquoFrom the fi rst performancethe Festival worked tocreate a new aesthetic ofShakespearean performancerdquo

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Planning to performa short selection

from Shakespeare

The 30-Minute Shakespeare

Anthology contains 18 abridged

scenes including monologues from

18 of Shakespearersquos best-known plays

Every scene features interpretive stage

directions and detailed performance

and monologue notes all ldquoroad testedrdquo

at the Folger Shakespeare Libraryrsquos

annual Student Shakespeare Festival

THE 30-MINUTE SHAKESPEARE is an acclaimed series of abridgments that tell the story of each play while keeping the beauty ofShakespearersquos language intacte scenes and monologues in this anthology have been selected with both teachers and students inmind providing a complete toolkit for an unforgettable performance audition or competition

NICK NEWLIN has performed a comedy and variety act for international audiences for more than 30 years Since 1996 he hasconducted an annual teaching artist residency with the Folger Shakespeare Library in Washington DC

The 30-Minute Shakespeare series is available in print and ebook format at retailersand as downloadable PDFs from 30MinuteShakespearecom

The 30-Minute Shakespeare Anthology

includes one scene with monologue

from each of these plays

ldquoLays the groundwork for a truly fun and sometimes magical

experience guided by a sagacious knowledgeable and intuitive

educator Newlin is a staunch advocate for students learning

Shakespeare through performancerdquo mdashLibrary Journal

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Roaslind Lyons

28 SHAKESPEARE magazine

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For UK artist Rosalind Lyons the Bard is a

constant presence in her creative life She tells

us how Shakespeare inspired the haunting and

dreamlike works that adorn these pages

Words and paintings by Rosalind Lyons

Rosalind Lyons

SHAKESPEARE magazine 29

Left TheRoaring Boys

PAINTINGSHAKESPEARE

S hakespeare has long been at the heart ofmy work sometimes directly and obviouslyin the subjects and often in the titlesBut always Shakespearersquos words charactersand stories are there in my head when Iam painting ndash a perpetual conscious andunconscious presence

My style echoes that of the Renaissancepainters and Elizabethan portraits andthese influences combined with a life-long love of Shakespeare made my firstvisit to Shakespearersquos Globe pivotal Iexperienced a powerful sense of connectionand recognition Here suddenly ideasand themes with which I had been so longpreoccupied were brought to life

I subsequently gained access to theGlobe to draw and later spent some time

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as Artist in Residence thereat experienceprompted more in-depth exploration notonly of Shakespeare and painting but of therelationship between painting and theatreere are of course the strong visualconnections ndash both are spaces for spectacleand illusion But also compelling ideas oftransformation imagination storytelling andidentity And overall the theme of ambiguitye blurring of boundaries between realityand fiction male and female light andshadow past and present I am fascinated byhow we respond to history how we re-presentand re-imagine the past And the figures inmy paintings are imagined as belonging toboth now and then ndash flitting back and forthacross the threshold between past and presentbetween Shakespearersquos time and our own

modern worldI have painted some specific characters

from Shakespeare but many subjects ofmy paintings are anonymouse figuresare unknown their place purpose role is amysteryis anonymity is unsettlingereare clues in the setting in the costumes ndash orperhaps I should just say in the clothes theyare wearing ndash but the context is not obviousI am fascinated by the dramatic convention ofcross-dressing ndash and particularly the inherent

confusion as with Rosalind ( As You Like It )and Viola (Twelfth Night ) in the idea of aboy playing a girl playing a boy Many of thecharacters I invent are androgynous theirgender and age uncertainis ambiguityof identity interests me in the context ofvisual illusion and theatrical transformationthe idea of inbetween-ness and somethingunresolved

Like theatre my paintings are concerned with inventing characters and the creation

Right No MoreYielding But A

Dream

Roaslind Lyons

30 SHAKESPEARE magazine

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of an imaginary world and I am particularlyattracted to the fools fairies and witchesIn A Midsummer Nightrsquos Dream the fairiesrsquoactions may seem malevolent or benign or just mischievous but there is definitely a dark

side an underlying sense of threate Fool too is intriguing Shakespearersquosfools frequently describe themselvesor are referred to as a nobody but areunquestionably much moree fool is anoutsider concerned with but at the same timeseparate from the story He ndash or sometimesshe ndash doesnrsquot quite belong anywhere butseems to exist on the boundary between thefamiliar and the uncanny

I am attracted to the strange to mysteryand shadows and try to express through myimages a strong feeling that it could be thator maybe something else As Orsino says atthe conclusion of Twelfth Night ldquoA naturalperspective that is and is notrdquo While makinga painting and even when it is finished Idonrsquot know really who my characters are ndashthey remain elusive But I like not knowingand ultimately meanings always change anddepend on individual perceptions

My experience at the Globe led to aparticular fascination with the ambiguous and

protean quality of the theatrical performerhow their identity transforms and fluctuatesI was attracted by this when watching

Rosalind Lyons

SHAKESPEARE magazine 31

Above A MidwinterNightrsquos Dream

Right Three Fools

Far right FollowingDarkness

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rehearsals observing actors shift between selfand impersonation between diff erent realitiesand identities When they are not acting theyndash metaphorically and often literally ndash melt

into the shadows I am interested too in thephysical and symbolic threshold between lsquoonrsquoand lsquooff rsquo-stage the transformation inherentin an actor moving from the wings onto thestage assuming another self and anotheridentity Particularly evocative is the fact thatactors were colloquially known as shadowsin the Elizabethan playhouses ndash suggestingsomething unknowable and insubstantialIn the Prologue to Henry V Shakespeare hasthe Chorus describe the players as lsquociphersrsquoimplying deception and secrecy

Artists in the past who have tackledShakespeare have generally produced imagesthat directly illustrate the text or representfamous actors or scenes from a particularperformance Today as well as on the stageShakespearersquos plays are frequently re-imaginedin very successful film and TV adaptationsbut I have struggled to find more than ahandful of contemporary fine artists whohave engaged with Shakespeare on any levelPerhaps Shakespeare as a subject is seen

by some as too traditional too lsquopopularrsquoor simply just too lsquooldrsquo But in the theatreand in literature there is an ever-increasingenthusiasm for innovative interpretationsof the plays and for me Shakespeare is aconstant inspiration

e Prologue of Henry V also urges theaudience to ldquoPiece out our imperfections withyour thoughtsrdquo to liberate the imaginationand create another kind of reality to shapeour own fantasies within the ldquowooden Ordquo of

the theatre In my paintings I endeavour todo the same

Explore the work of Rosalind Lyons atwwwrosalindlyonscom

Above These Two CreaturesBelow Therersquos Magic In Thy Majesty

Roaslind Lyons

32 SHAKESPEARE magazine

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$amp( ) +-01

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Aidan OrsquoReilly

34 SHAKESPEARE magazine

Looking forRichard AidanOrsquoReilly is playingShakespearersquosbaddest monarch

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Aidan OrsquoReilly

SHAKESPEARE magazine 35

You are legally blind having been

diagnosed with retinoblastoma as an

infant How did this impact on your

acting aspirations and early career

ldquoMy parents did a good job raising me Inever grew up thinking of it as a handicap orthinking it could hold me back from what I wanted to do I couldnrsquot play sports at all soI think my parents were grateful that I hadsomething that I was passionate about from avery young age

ldquoI went to a public elementary school with a program designed for the blind so itfelt very natural for me to be the way that I was And acting has always been part of thatrdquo

You went to RADA in London Was

there a reason why you wanted to

train in England and not in the US

ldquoItrsquos always been an ambition of mine to

travel as far and wide as possible Also myhero growing up was Peter OrsquoToole ndash Iread his autobiography in high school andlearned he had gone to RADA and decided I wanted to go there too So I auditioned therenot knowing that RADA is arguably thebest drama school in the English-speaking world Consequently I was quite relaxed atthe audition which is probably why I gotin My ignorance can sometimes serve me well Going to RADA was a life-changing

Aidan OrsquoReilly is an actor with an

inspiring story Legally blind since he

was six months old he forged a passionfor drama at an early age Aidan went

on to gain a BA with honours from

Londonrsquos Royal Academy of Dramatic

Art before touring for three years with

the American Shakespeare Center

In 2012 Aidan was diagnosed with

sarcoma a rare cancer He bounced

back in 2014 after intensive treatment

and is now cancer-free We spoke to

Aidan as he prepared to play the title

role in Richard III for Californiarsquos Marin

Shakespeare Company We asked himto share his story and to give us his

take on one of Shakespearersquos most

fascinating characters

Interview by Jen Richardson

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Aidan OrsquoReilly

36 SHAKESPEARE magazine

experience I was lucky enough to havecontact with brilliant professors and Irsquom stillin awe of the students I went to school withI wouldnrsquot trade that experience for anythingrdquo After graduating from RADA you

went on the road with the American

Shakespeare Center Tell us a bit

about that

ldquoThat was one of the happiest times of mylife In many ways I got spoiled I was a working actor 11 months out of the yeartouring nationally seeing parts of the USI had never been to before doing plays Iloved and working with directors who werevehemently faithful and respectful to the text When I wasnrsquot on the road I was in residenceat the Blackfriars Playhouse in StauntonVirginia with many extraordinary actorsI was very lucky to be thererdquo

Three years ago you were diagnosed

with sarcoma How did you

overcome this enormous challenge

and return to the stage in 2014

ldquoThe only reason Irsquom still alive is because ofmy mother Lily and my wife Jocelynn AlsoI was fortunate that we caught it before it hadspread and it was on my leg and away fromany major organs

ldquoI am very grateful for my team of doctorsat UCSF who did an incredible job in mytreatment and follow-up care Irsquom glad to beback to workrdquo Yoursquore now due to play Richard III

with Marin Shakespeare Company

Howrsquos it going so far

ldquoAt this point Irsquom in the paperwork stage

of things A lot of reading the HenryVI s biographies of Richard as well asperformance history of the play itself Irsquomdoing a fair amount of limping around myapartment as well I canrsquot wait to get intorehearsals next weekrdquo Tell us about Marin Shakespeare

Company and what appealed to you

about working with them

ldquoRobert and Lesley [Currier MSCrsquos Artistic

Director and Managing Director] arefascinating people Their intelligence andhumour is contagious Without questionthere is a lot to be learned from themrdquo Richard IIIrsquos remains were discovered

in 2012 and reburied this year Is all

the new information about Richard

influencing your portrayal

ldquoYes and no My job isnrsquot to play the historicalRichard but the Richard that Shakespeare has

Aidan believesthat Richard IIIrsquosobsession withcontrol is whatcauses his downfall

ldquoPeter OrsquoToole wasmy hero He went to

RADA so I wanted to go there toordquo

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Crowning gloryAidan with MarinShakespearersquosRobert Currier

created Itrsquos helpful to know the facts of thesituation in order to gain insight into whathas been changed in Shakespearersquos versionof events

ldquoI met with a friend of mine who is a

retired surgeon who walked me through themedical information that has come to lighton Richardrsquos body and I will certainly usethat to inform my physical choicesrdquo Unlike many actors yoursquore the right

age to play the historical Richard III

Do you feel Richardrsquos relative youth

has been overlooked

ldquoI do Richard is a young man who believeshe is hardened by the experiences he andhis family endured during the War of theRoses and believes himself to be beyondhuman emotions and the lsquorestrictionsrsquo of aconscience He isnrsquot He pays the bill for thehorrible things he does That lack of self-knowledge is not exclusive to youth but I feelit makes him more sympathetic and relatableto an audiencerdquo Some people think Richard III shows

Shakespeare delivering a highly

effective piece of Tudor propaganda

Where do you stand on thatldquoI think Shakespeare has a soft spot foroutsiders and underdogs Although his playssometimes work within the confines of thebiases of Elizabethan society he canrsquot help butmake his lsquovillainsrsquo fascinating human beings

For as horrible as Richard is itrsquos amazing tosee how audiences relate and respond to himrdquo Which other important themes do

you feel Shakespeare deals with in

the playldquoThe history plays are full of extraordinarypeople who waste their lives and intelligence who sacrifice their humanity in pursuit of thecrown Itrsquos still happening today What is theattraction of power Richard never pauses tothink of why he wants the crown or if hersquodbe any good as king Turns out hersquos not butitrsquos this bizarre obsession with control thatpropels him to kill everyone off thatrsquos in his way Itrsquos also fascinating that the one characterthat is consistently kind to Richard is hisfather York

ldquoI think an argument can be made thatRichard in his warped way is trying to liveup to the image he has of his father Ofcourse York is dead and gone by the timeRichard III begins but you can glean a lotabout Richardrsquos inner workings in the way hespeaks about his father Of course itrsquos foolishto try to answer questions that Shakespearedoesnrsquot and Irsquom not trying to say this solvesa mystery but I think itrsquos interesting Itrsquos only

an element itrsquos not the answerrdquo Richard III is listed as a historical

play in the First Folio but in the

quarto edition it is termed a tragedy

Which category would you put the

play in and why

ldquoI think of the history plays from Richard II to Richard III as one vast play an epic thatencompasses all the categories I think if youlook at Richardrsquos progression through those

plays you see a great mind warped by the War of the Roses and that certainly adds tothe tragic element I think of Richard III asthe final chapter of a great epicrdquo

Aidan OrsquoReilly stars in Marin ShakespeareCompanyrsquos Richard III from 4-27 September

Aidan OrsquoReilly

SHAKESPEARE magazine 37

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Scotland Shakes

SHAKESPEARE magazine 39

Bonnie Prince

Brian Fergusonas Hamlet in theCitizens Theatre

production Photoby Tim Morozzo

Billy William Shakespeare is undoubtedly Englandrsquos

Bard But how is he viewed north of the border

Our Caledonian correspondent surveys the state

of Shakespeare in Scotland and meets esteemed

outdoor theatre company Bard in the Botanics

Words Paul F Cockburn

T owards the end of May thisyear a BBC Scotland afternoon

news bulletin surprisinglyturned its attention to aforthcoming production of

ldquoone of William Shakespearersquos best lovedplaysrdquo ndash A Midsummer Nightrsquos DreamHowever this particular production wasnrsquotconsidered newsworthy because it came froman amateur group based in Dumfries andGalloway Not even that the CrossmichaelDrama Club were one of just seven amateurScottish groups taking part in the Royal

Shakespeare Companyrsquos Open Stages project which aims to help amateur companies

extend their repertoiresNo the lsquohookrsquo was how this newproduction was Shakespeare ldquobut no asyou micht ken itrdquo Because it had beenreimagined in Scots as A MidsimmerNichtrsquos Dreme

As it happens writer John Burns saysthat his principle reason for translating AMidsimmer Nichtrsquos Dreme was simply theintuition that it being in Scots would workto the benefit of the production ldquoItrsquos not

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Scotland Shakes

40 SHAKESPEARE magazine

so much that 16th century English canrsquot docertain things more that using Scots brings itcloser to a Scottish audience and to audiences who might think Shakespeare too fancyrdquo hesays ldquoI feel too that Scots can catch the sheerphysical power of Shakespearersquos language He writes lines you really feel physically when

you say them out loud My intention was touse Scots to produce a text that was actableand which would be accessible and enjoyablefor the audience and the Scots was a majorpart of thatrdquo

Arguably translating Shakespeare intoScots ndash viewed by many as a distinct languagefrom English ndash is just one way of finding thecontinued relevancies of Shakespearersquos writing with the here and now Certainly John Burns was keen to see if Scots ldquocould match the way

Shakespeare switches tonehellip from broad attimes bawdy humour to moments that aremore serious or even sinisterrdquo

Yet there is a wider perspective whether wersquore discussing translation into Scots orsaying Shakespearersquos words with a Scottishaccent Willy Maley and Andrew Murphyin their introduction to Shakespeare andScotland (published by Manchester UniversityPress in 2004) go as far as describing thetranslation of Shakespearersquos Macbeth into

Scots as ldquoa patriotic actrdquo not least becauseof ldquothe political commitment implicit intranslating from English to Scots reversing

the dominant dubbing practice infi

lmsrdquoGlasgow-based novelist and playwright Alan Bissett ndash who actively campaigned fora Yes vote during last yearrsquos IndependenceReferendum ndash has since written about howsince the 1970s Scottish theatre had ldquoadeep engagement with the shifting beastof Scottish politicsrdquo Although Bissett wasfocusing primarily on original works byScottish playwrights and directors itrsquos worthpointing out that Shakespeare ndash despite therebeing absolutely no evidence to prove he evertravelled north of Carlisle ndash has played hisown part in this

As Maley and Murphy point outldquoScotlandhellip never had precisely the samerelationship with the Bard as England hasbut has experienced a fraught process ofappropriation incorporation and resistancerdquoIn part this is because Shakespeare ndash in hislatter career ndash was among the first lsquoBritishrsquo writers Many of his later plays ndash Cymbeline King Lear even Hamlet ndash were produced

A tartan-cladAntipholus andDromio in Bard inthe Botanicsrsquo TheComedy of Errors

Brian FergusonrsquosHamlet CitizensTheatre productionPhoto by TimMorozzo

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under the patronage of Scotlandrsquos King JamesVI (aka James I of England) Each in theirown way can be said to touch on ldquothe matterof Britainrdquo the complex relationship between

the constituent elements of Jamesrsquos newlsquounitedrsquo kingdom which the Stuart monarch was determined to see joined into oneat never quite happened of course

Even after the 1707 Act of UnionScotland retained its own legal educationaland religious systems along with anaccompanying sense of Scottish identity ndash which survived even the height of the Britishempire Yet from the 1970s on there havebeen notable changes in how Shakespeareis treated by Scotlandrsquos producing theatrecompanies Several years ago GlasgowrsquosCitizenseatre delivered a powerful Romeoand Juliet in part because of their decision toset the action in a present-day sectarian Westof Scotland ndash with accents to match

ldquoEnglish-accented Shakespeare carriesa specific resonance in Scotland one thatdirectors usually choose to avoidrdquo pointsout Mark Fisher a freelance journalist criticand author of the forthcoming book How toWrite Abouteatre

ldquoIrsquom not sure exactly when attitudesstarted to change but Irsquod say the argumentin favour of Scottish-accented productionshad been pretty much won by the 1990sBy that time companies such as Raindogand directors such as Hamish Glen hadbeen making a point of casting very Scottishproductions of Shakespearerdquo

One example of how things hadprogressed even by 1992 was the late KennyIrelandrsquos production of A Midsummer

Nightrsquos Dream his first as Artistic Directorat Edinburghrsquos Royal Lyceum ldquoHe castthe mechanicals with Scottish accents andeveryone else with English accentsrdquo MarkFisher explains ldquois I said in my review wasa fundamental error ndash or some such phrasee message it sent out was that people withScottish accents were foolish figures of fun whereas people with English accents wereserious figures of respect

ldquoIreland reacted furiously to my review

and made the case that he had based thecasting of the mechanicals around (the actor) Andy Gray who has a Scottish accent Inother words the meaning I inferred hadnot been deliberate I think itrsquos true to sayhowever that Ireland never cast a Shakespearelike that againrdquo

Gordon Barr is Artistic Director of

Glasgow-based Bard in the BotanicsScotlandrsquos only professional Shakespearecompany (see following pages)

ldquoWersquove never gone out of our way tomake Scottish versions of these texts norhave we gone out of our way to have classicaltraditional voicesrdquo he says ldquoMost of our coreactors have made their careers up here so wethink of them as Scottish actors

ldquoat is important to us to not overlylook outwards for the acting company As

much as possible we work with people who are based in Scotland Wersquore regularlyproducing Shakespeare here and we want tobe a part of the training to ensure that there isa range of strong classical actors hererdquo

Citizens Theatrewwwcitzcouk

Owen Whitehawas the Fool andDavid Hayman asLear in CitizensTheatrersquos King Lear Photo by TimMorozzo

Scotland Shakes

SHAKESPEARE magazine 41

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Bard in theBotanicsrsquo As You Like

It takes Rosalind andOrlando into theopen air

ldquoTouring is something that we have wanted to do foryears but was somethingthat we could not afford

to do without fundingrdquo says Gordon Barr Artistic Director of Scotlandrsquos only professionaloutdoor Shakespeare festival Bard in theBotanics If therersquos any irony attached tothe companyrsquos first major tour of Scotland which took place in early 2015 itrsquos that theperformances of their acclaimed Romeo and Juliet ndash featuring a cast of five ndash were playedexclusively indoors

ldquoNobody is touring classical theatre in

Scotland at the minute so itrsquos importantto usrdquo Barr adds ldquoOur work is so muchabout accessibility One of the joys of beingoutdoors is that people come to see the work who wouldnrsquot buy a ticket for a theatre Ifyou can bring a picnic sit out on the grass while watching the show it feels easier moreaccessible But people canrsquot come from Thursoto Glasgow for a night just to see a productionof Shakespeare They should be able to see itin Thurso So that is kind of where the urge totour came fromrdquo

Bard in the Botanics has presented outdoorShakespeare within the grounds of GlasgowrsquosBotanic Gardens since 2003 This yearrsquoslsquoUnlikely Wondersrsquo season presented newproductions of Loversquos Labourrsquos Lost The Merchant of Venice Richard II and A Midsummer Nightrsquos Dream in lsquoreprsquo between24 June and 1 August

The companyrsquos founder Scott PalmerBarr explains had done a lot of his training atthe Oregon Shakespeare Festival one of the

biggest in North America ldquoWith the kindof drive and enthusiasm that only Americanshave he managed to convince the entire cityof Glasgow that outdoor Shakespeare would work and that the weather wasnrsquot going to be

a problemrdquoTwo years later Palmer moved on and Barr

ndash originally involved as a director ndash succeededhim as Artistic Director ldquoIf anyone then hadsaid that I would end up spending 12 yearsrunning an outdoor Shakespeare festival I wouldnrsquot have believed themrdquo he says in hisoffice hidden behind some of the Botanicsrsquogardening sheds ldquoI very quickly fell in love with it once I started working here Despiteall the trials and tribulations that outdoortheatre in Scotland brings with it therersquos just

something magical and special about it Itrsquos a very close-knit company and thatrsquos sort of keptus all here as long as we have beenrdquo

While the annual summer season ofShakespeare plays in the Botanics will remainat the centre of what the company does ndashldquoOtherwise Bard in the Botanics becomesa rather strange namerdquo ndash Barr is very much

Outof theGarden

This year has seen Glasgowrsquos Bard in the Botanicsdo something completely unexpected They wentout on a tour of ndash whisper it ndash indoor venueshellip

Scotland Shakes

42 SHAKESPEARE magazine

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Scotland Shakes

SHAKESPEARE magazine 43

focused on building on the touring side ldquoBecause it was our first ever tour we

did end up taking Romeo and Juliet to theestablished Scottish touring circuitrdquo he addsldquoIt takes a while to build up relationships with the smaller venues thatrsquos going to bean ongoing process for us Even so we weretaking Romeo and Juliet to places like Mulland Stranraer ndash communities and venues thathavenrsquot had a lot of classical theatre comingthrough themrdquo

The choice of play was deliberate too ldquoIt was a production that was ready to go whichhad received five star reviews and sold out itsextended run in the Botanics in 2012 So weknew that the work was good but therersquos nodoubt that for a first tour we wanted to makeit easier for the venues to sell it Most venuesknow they can find an audience for Romeo and Juliet rdquo

In time he hopes that audiences aroundthe rest of Scotland will come to trust the Bardin the Botanics name sufficiently to take on theless familiar plays

ldquoYou just donrsquot know how quickly acommunity is going to turn out for Henry IV yetrdquo he says ldquoHopefully three or four toursdown the line theyrsquore going to turn out forBard in the Botanics ndash and if it happens to be

Henry IV well thatrsquos greatrdquoGiven their reimagining of A MidsummerNightrsquos Dream as a 1920s burlesque musicalis there a particular Bard in the Botanicsapproach to Shakespeare

ldquoOur kind of unofficial motto is lsquoBe BoldBe Braversquordquo Barr says ldquoIf wersquore continuingto stage these plays around 400 years afterShakespearersquos death I think therersquos an urgencyto ask lsquoWhyrsquo It is important to questionlsquoWhat is the story that we want to tellrsquo I wantto see how these plays intersect with historyand todayrsquos society not to present museumpieces

ldquoItrsquos always with an eye to try to releasesomething thatrsquos within the textrdquo Barrinsists ldquoWersquore not remotely interested ininnovation for innovationrsquos sake The playsare masterpieces thatrsquos essentially why wersquorestill doing them 400 years later But to revealsomething thatrsquos unexpected or new thatrsquosimportant to usrdquo

Bard in the Botanics

wwwbardinthebotanicscouk

Rosalind and Audreyin the forest Bardin the Botanicsrsquo As You Like It

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Shakespeare at the Tobacco Factory stf 2016 Seasonco-production with Tobacco Factory Theatres

HAMLETBy William Shakespeare

Directed by Andrew Hilton

Main run Thu 11 February ndash Sat 26 March 2016

In repertoire with Allrsquos Well That Ends WellMon 25 ndash Wed 27 April Sat 30 April 2016

The most famous play in world drama Hamlet

turns a new face to every decade So many

elements - political madness sex murder ndash all

brought together in a drama that is both a thriller

and the profoundest meditation on our human

condition

ldquoThrilling workrdquo The Guardian on Romeo amp Juliet

ldquoBullseyerdquo WhatsOnStage on Romeo amp Juliet

Shakespeare at the Tobacco Factory Friends Priority Booking opens Wed 23 September 10am

wwwstf-theatreorguk

Tobacco Factory Theatres Members Priority Booking opens Wed 16 September 10am

wwwtobaccofactorytheatrescom

Public Booking opens Wed 30 September 10am

Tobacco Factory Box Office 0117 902 0344

ALLrsquoS WELL THAT ENDS WELLBy William Shakespeare

Directed by Andrew Hilton

Main run Thu 31 March ndash Sat 23 April 2016

In repertoire with Hamlet

Thu 28 ndash Fri 29 April Sat 30 April

A young woman using skills bequeathed herby her father saves the French Kingrsquos life and

is rewarded with the right to choose her own

husband But what if the chosen one wonrsquot play

the game How can she get him into bed How

can she make him love her

ldquo There is something approaching real

magic hererdquo The Arts Desk on The School for Scandal

P h o t o s M

a r k D o u e t

Dorothea MyerBennett in Richard III

Benjamin Whitrowand Julia Hills in The

School For Scandal

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Having conquered

Hollywood and vanquished

the global entertainment

industry video games now

on our culture So where

does the Bard stand in all of

this We sent a Shakespeare

scholar to investigatehellip

Words Andrew Bretz

Shakespeare video games

46 SHAKESPEARE magazine

T eGamersquos A oot Silent Hill is one

big-name gamewhich includesShakespearereferences

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Shakespeare video games

SHAKESPEARE magazine 47

German cardboard Macbeth datingfrom the early1800s

Hamlet reimaginedRyan Northrsquos To Be

Or Not To Be

W

hen you walk intothe wood panelled Victorian Gothicismof the Gail Kern Paster

Reading Room at theFolger Shakespeare Library in WashingtonDC video games are probably the lastthing on your mind Buried deep withinthe archives however are a set of fragilecardboard figures printed in Germany in theearly 1800s representing each of the maincharacters of Macbeth

Nineteenth century German children would play with these figures on smallcardboard stages no bigger than a dollhouseey could replicate the story as it was toldin Shakespeare or use their imagination tochange the ending letting Lady Macbethsurvive and bringing Duncan back from thedead if they so chosee limits of the game were the limits of their imagination

Today the lsquogamificationrsquo of Shakespeareis a big business from Ryan Northrsquos choose-your-own-adventure edition of Hamlet To Be Or Not To Be to IDW Gamesrsquosupcoming Kill Shakespeare board gamebased on the comic of the same name

Gamifying Shakespeare is filtering intoschools libraries and the theatrical worldas well with the University of California atDavis the Stratford Festival in Ontario theGlobeeatre in London and the LondonMetropolitan Archives all experimenting with video game elements in exhibits productionsand research

Why video games In a sense this is thelogical next step in the media development ofShakespeare Hersquos everywhere in other media

books movies merchandise But videogamese answer for that depends on whoyou ask

StorytellingOccasionally individuals or publishinghouses develop video games that try to tellthe story of say Hamlet yet this is relativelyrare One example would be Elsinore a time-looping narrative adventure game set in the world of the play Players play the game as

Ophelia who wakes up knowing that in fourdays the entire court will be dead and shemust do something to stop ite problemis that she is stuck in a time loop reliving thesame four days over and over againat said Shakespearersquos presence in the

video game industry tends to be focused oncitation rather than adaptation of the playsat is video games for Xbox Playstationand other popular gaming systems often

just cite Shakespearersquos plays as a part of acommon cultural heritageese games donrsquotrestage say Hamlet but they quote the playIn these cases Shakespeare is used to establisha point of identification for the audience His writing tells the audience something aboutthe character or the situation

Given that audiences are supposedto be able to identify the quotations asShakespearean it is unsurprising that Hamlet is the most popular text for game designers to

cite Ine Elder Scrolls Online for instancea merchant NPC (non-player character)quotes Polonius when players interact sayingldquoNeither a borrower nor a lender berdquoe words establish the NPCrsquos role as a merchant while fitting the medieval world of thegame In the game LA Noire upon pickingup a fake shrunken head at a crime scene adetective leaps into high melodrama withldquoAlas poor Yorick I knew him Horatiordquoequotation and the clever voice acting establish

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Shakespeare video games

48 SHAKESPEARE magazine

the characterrsquos strait-laced yet macabre senseof humour

Sometimes citing Shakespeare is a partof a critique of a larger theme In the game Mass E ff ect the Elcor are a race of elephantinealiens who preface all statements with adescription of the emotion they are feelingand who speak in a slow monotonous drone As players interact with the expansive worldthey can discover a number of advertisementsfor an all-Elcor Hamlet e idea of theElcor actor ndash the ultimate in a flat woodenperformer ndash having to preface ldquoTo be or not

to berdquo with ldquomorose ruminationrdquo goes beyondthe simple humour of a bad Shakespeareperformance It subtly asks what it is aboutacting (and especially voice acting) that isvaluable

Shakespeare can appear in video gamesnot merely as a marker or contextualisationtool but as a part of a puzzle For example inthe game Silent Hill 3 players must arrange aset of Shakespeare anthologies on a bookshelfin an abandoned shopping mall in order to

proceed in the game At the hardest levelthe puzzle clue takes the form of a poemthat references all the major tragedies Romeoand Juliet King Lear Macbeth Othello andof course Hamlet e bloody nature of thetragedies fits with the bloody nature of theSilent Hill series of games which fall into thesurvival horror genre

Popular video games have also servedas the inspiration for games that engage with Shakespeare in a more direct way For

example Daniel Fischlin at the Universityof Guelph in Ontario Canada led a teamthat created a Flash game called rsquoSpeare Itrsquos

a scrolling arcade-style game suggesting thersquo80s hit Galaga which sees players identifyingand navigating through a series of enemies who turn into words upon being destroyede player progresses through the levelsby collecting the correct words to createShakespearean quotes learning Shakespeareantrivia along the way

ImmersionOne of the most exciting aspects of videogames is the ability to immerse the player inthe world of the game in a way that othermedia simply cannot do Being able to walkaround Prosperorsquos cell Julietrsquos balcony orto stand before the ghost of Hamletrsquos fatheras he cries out ldquoList list O listrdquo ndash theseexperiences are made possible through videogame technology

Students of Scenic Arts at the Universityof Hildesheim in Germany created Projekt ARIEL or SturmMOD in 2008 using a lsquomodrsquo(or modification) to the engine that runs

the game Far Cry 1 e performance artproject allowed users to experience Prosperorsquosisland interacting with certain parts andexploring others Players could walk aroundan imaginative rendition of Prosperorsquos cell and witness or interact with elements of the playincluding diff erent characters like CalibanProspero and Miranda

Four days to savethe Danish court

Elsinore

Another Hamlet reference this timein LA Noire

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Shakespeare video games

SHAKESPEARE magazine 49

Gina Bloom at the University of Californiaat Davis is presently spearheading a projectthat will be demonstrated in the lobby of theStratford Festival theatre in Ontario Canadathis summere project Play the Knave AShakespeare Performance Videogame lets usersdesign a virtual performance space and thenperform a scene from a Shakespeare playinhabiting this constructed space with anavatar As a Davis insider explains ldquoWe use akinect motion capture camera to capture theuserrsquos skeletal data so that players use theirentire bodies to control their avatarrsquos gesturesonscreen all the while reciting the lines from

Shakespearersquos scenerdquo is literally immersesthe players in the scene

Shakespearersquos Globe eatre in Londontook another tactic regarding immersionin the production of the game HemmingsrsquoPlay Company Hosted on the Playgroundportion of the Globersquos website and thusaimed at an audience of children the gamehas players taking on the role of Hemmingsan Elizabethan bear who leads a troupe oftheatrical animals such as Kit the Cat Dekker

the Dog and Slye the Foxe turn-based game leads players through

the vagaries of Elizabethan theatre practicefrom patronage to lost props and the plagueBy the end of the game players must earnenough money to rebuild the Globe after itburns down during a performance of HenryVIII

Also from Shakespearersquos Globe are twoinnovative video experiences created forchildren aged five to 11 e first Exploring

Shakespeare features two boys on a tour ofthe Globe theatre who sneak off to explorebackstage e video illustrates four plays

using short animations that are keyedto things the boys find backstage etechnology combines live action film andanimation to create an interactive touchablegame Filled with mini-games quizzes andinteresting facts about Shakespeare the gameallows players to click through the narrativeor to stop and learn more as they go along

e second video called Staging It usesthe same technology as the first film but thistime is for the 11-16 age group In this gamee Globe has filmed two actors performingfamous duologues from A MidsummerNightrsquos Dream and Macbeth on the Globestage Rather than shoot it once the actorshave performed their lines in diff erent ways(happy flirtatious defensive and so on)creating several diff erent clips per linePlayers can watch each of the clips and addtheir choice to a dynamic storyboard tobuild up their final scene Impressively theplatform allows for up to 1000000 diff erentcombinations of clips

Apps and Mini-GamesItrsquos when you start to look outside of therealm of popular video game platformslike Xbox or Playstation that Shakespeare

Silent Hill 3 Brush upyour Shakespeare ifyou want to survive

Hemmingsrsquo PlayCompany fromShakespearersquosGlobe

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Shakespeare video games

50 SHAKESPEARE magazine

really starts to pop up wherever you looke ubiquity of Shakespeare is especiallynoticeable when you start to look at apps andmini-games designed for phones and tablets

In 2012 Big Fish Games released aniPhone and iPad game called Hamlet that featured all the main characters ofShakespearersquos play but transposed them intoa save-the-princess narrative puzzle game A time traveller lands in Denmark andaccidentally kills Hamlet and so players mustcomplete his journey for him saving Opheliaand killing Claudiuse Shakespeareancontent is minimal and heavily adapted andyet it fits with the puzzle format in whichShakespeare tends to be found in videogamese Chronicles of Shakespeare Romeo amp

Juliet ande Chronicles of Shakespeare A Midsummer Nightrsquos Dream are lusciously-illustrated puzzle games for the PC In themplayers act as one of the characters from theplays gathering items and clues through aShakespearean environment

Among the literally thousands of appsrelated to Shakespeare that can be found forthe iPad or Android tablet are

e Shakespearean Insult Creator which generates invectives drawn from a wholly Shakespearean vocabulary So nexttime you want to call someone a jerk trysomething more like ldquoou fusty follyfallenfustilarianrdquo

e Shakespeare Translator whichtranslates ldquonormal English words and phrasesinto the words of Shakespeare himselfrdquo

e Shakespeare Fortune Cookie which provides short quotes from the plays

and a small trivia game Shakespeare or Die a game that

scrambles the words of famous quotationsfrom the plays and asks you to identify theplay and character who spoke the line If youmake a mistake however beware the witchesese apps are either explicitly games or

they are coming out of a game-like impulse tomake Shakespeare more accessible to everyone with an internet connection

Brave New WorldsIn a world where Shakespeare is an industrycounted in the millions of dollars per yearit is so easy to forget that Shakespearersquos playsare just that ndash playsere is a sense of joyand fun and happiness embedded in theexperience of watching them Games are oneof the ways that people over the centuries

have tried to recapture that elusive sense ofplayfulness within Shakespeare So it makesperfect sense that now with the advent ofdigital technologies Shakespeare is movinginto the digital world with a vengeance

From big studio games likee ElderScrolls to small apps that can be downloadedfor free from talking bears to immersiveperformance experiences Shakespeare iseverywhere in video games Rather than beingan undiscovered country into which the Bard

is only just beginning to emerge games havein fact engaged with Shakespeare and his works for hundreds of years And they willprobably continue to do so for hundreds ofyears to come

rsquoSpeare is a scrollingarcade-stylegame with addedShakespeare trivia

Hamlet is aShakespeare-themed puzzle fromBig Fish Games

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Meet thy makers

Helen Mears fell into bardolatryduring her teenage years and has

never recovered She is a volunteersteward at Shakespearersquos Globe

which ensures a regular diet of theBard She teaches English Film andMedia at Suffolk New College and isa specialist in teaching Shakespeareusing active methods Her favouriteShakespearean actor is Jamie Parker

and her favourite plays are the SecondHistory Tetralogy She hopes to

finish her Masters in the AdvancedTeaching of Shakespeare very soonFind her on Twitter hipster_hels

Paul F Cockburn is an Edinburgh-based freelance magazine journalist who specialises in writing about

arts and culture equality issues andpopular science Hersquos sufficiently

grey-haired for his English Literaturetraining to have sort of overlapped

with The BBC Television Shakespeareproject saving at least some of the

plays from death by academiaFind him on Twitter paulfcockburn

Jen Richardson first fell in love withShakespeare as a 15-year-old schoolgirl

ldquoHe got under my skin and hersquos still theretodayrdquo After training with a Manchester-based drama tutor she went on to pursuean acting career Drama remains a greatinterest but her focus is now on sharing

her passion for Shakespeare throughher writing In her spare time Jen is

generally down in Stratford-upon-Avonsitting on her favourite bench behind

Holy Trinity ChurchFind her on Twitter The_JenJen

Andrew Bretz is a sessional instructorof English Literature and Drama

specialising in early modern dramaHe has taught at Wilfrid LaurierUniversity the University of Guelph

Brock University and McMasterUniversity For the past two years he

has taught a special summer intensiveat Ontariorsquos Stratford Festival His PhDdissertation was on the representationof sexual violence on the early modern

stage Find him on TwitterAndrewBretz001

Just some of the contributors to this issue of Shakespeare Magazine

Rosalind Lyons is a painter whohas exhibited widely in both mixedand solo shows with work in UK

and international private collections A life-long love of Shakespeare isreflected in many of her paintings

and a particular recent focus isShakespearersquos Globe theatre where shespent a period as artist-in-residenceShe is currently studying for a PhD

in Painting and ShakespeareanTheatre at Anglia Ruskin University

in CambridgeFind her on Twitter roslyons

52 SHAKESPEARE magazine

Contributors

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Page 9: Shakespeare Magazine 08

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Benedict with MartinFreeman (left) in theBBCrsquos Sherlock

Rehearsals forHamlet July 2015

Benedict Cumberbatch

SHAKESPEARE magazine 9

he commented ldquoI was intrigued to see whatthe real historical event would be like andto be a part of this extraordinary moment ofremembrance Then what really sealed thedeal was this beautiful poemrdquo

Benedict feels that the discovery ofRichardrsquos remains has changed peoplersquosperceptions ldquoI think the debate in historicaland archaeological terms about the reality ofhim and his kingship is whatrsquos extraordinaryto witness nowrdquo

He also recognises the perilous appealof Shakespearersquos Richard ldquoYou wouldnrsquotlook twice at him necessarilyrdquo he said ldquobutonce he had you in his beamhellip Hersquos a verydangerous charming powerful manrdquo

Cumberbatch was boldly instrumentalin Dame Judi Denchrsquos appearance in TheHollow Crown The Wars of the Roses Heattended a Shakespearean workshop eventat which the veteran actress was appearing When the audience were asked if they hadany questions he leapt into action askingldquoWould you like to be in Richard III withmerdquo Dame Judi naturally accepted

And fans of Sherlock will already knowthat Andrew Scott who played criminalmastermind Moriarty will also be appearing

in The Wars of the Roses as the French KingLouis

But itrsquos Cumberbatchrsquos run as Hamlet

at Londonrsquos Barbican that is arguably the Shakespeare event of 2015 It sold out inrecord time (although the venue promisethat day tickets will be available for eachperformance) as fans worldwide foughtfor their chance to see Benedict play theDane It is clearly the fruition of a dream forCumberbatch Indeed when asked at 2012rsquos

Cheltenham Literary Festival which play he would choose if he could only perform onemore stage role he opted for Hamlet ldquoEveryactor wants to have a go at itrdquo he said ldquoand I want to have my go at it and I will But wersquore working out when and howrdquo

Well the ldquowhen and howrdquo is right nowBenedict Cumberbatchrsquos career has come fullcircle from his first professional performanceof Shakespeare to playing his dream role Ifyoursquore lucky enough to have a ticket yoursquoll

be witnessing the most talked-about andfeverishly-anticipated theatrical event in yearsIf not therersquos always those queues for daytickets Wersquoll see you there

Hamlet runs at the Barbican Theatre

London until 31 October

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Shakespeare On Sale

SAVE 25 Since 1941 Dover Publications has built its reputation by offering remarkable books at

amazing prices Discover our fine catalog of the works of William Shakespeare

The complete collection of comedies historiesand tragedies all in compact 5rdquo x 8rdquo unabridgedpaperback editions The lowest-priced editionsavailable for todayrsquos educators students actorsand Shakespeare lovers of every kind

Complete and unabridged text of a play plus acomprehensive study guide with scene-by-scenesummaries explanations and discussions of the plota question-and-answer section and more

Calla Editions reg Books of Distinction for the Contemporary Bibliophile

Our premium imprint features impeccable hardcover reproductionsof some of the most beautiful books ever published Filled with

breathtaking artwork and other deluxe features each Calla Editionrecalls a time when bookmaking was considered an artform

wwwdoverpublicationscomwilliam-shakespeare

To SAVE 25 Click Here

NO minimum order required bull Use CodeWLA2 at checkout bull Expires 123115

P l u s M or ehellip

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G A L L E R Yamp R E V I E WFor a generation of Cumberbatch fans lsquoBenedict at the Barbicanrsquo is the

most sensational and controversial Shakespeare production of a lifetime

Images Johan Persson Words Liz Barrett

Hamlet

ldquoTo be or not to be ndashthat is the questionrdquo[III 1] Controversially the playrsquos most iconicspeech was moved to the beginningAs we went to press however thisdecision had apparently been reversed

Benedict Cumberbatch

SHAKESPEARE magazine 11

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Benedict Cumberbatch

12 SHAKESPEARE magazine

ldquoA villain kills my father and for thatI his sole son do thissame villain sendTo heavenrdquo [III 3]

ldquorsquoTis in mymemory lockrsquod And you yourself

shall keep the key of itrdquo[I 3] Ophelia (Siacircn Brooke)

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Benedict Cumberbatch

SHAKESPEARE magazine 13

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Benedict Cumberbatch

16 SHAKESPEARE magazine

ldquoAnd yet to me whatis this quintessence

of dustrdquo [II 2]

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Even more than London there

is one place above all that is

green and pleasant landhellip

Words Helen Mears

Pictures Helen Mears and Susan Braund

Stratford-upon-Avon

SHAKESPEARE magazine 19

W e could be in any smallpicturesque Englishtown with its medievalchurch half-timberedTudor buildings shops

restaurants and delightful riverside walksBut Stratford-upon-Avon is not just any

town Itrsquos one of the best-known most- visited and probably most-loved locations inEngland Thatrsquos because itrsquos the birthplace of William Shakespeare Itrsquos also the place heseems to have considered his home After allShakespeare grew up there went to schoolthere and spent his final days there

So here is Shakespeare Magazinersquos on-the-ground guide to Stratford-upon-Avon Hereyoursquoll find hints and tips for first-time visitorsand returning aficionados alike What to see

the best ways to see it where to stay where toeat and how to get around while yoursquore there Are you ready Then letrsquos start our tourhellip

The BirthplaceSurely the must-visit spot for any self-respecting Bardolator this is where it all beganndash the six-roomed Merchantrsquos House on HenleyStreet where in April 1564 Mary Shakespeare wife of glover John gave birth to their famousson Williame house is approached

HOME

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20 SHAKESPEARE magazine

through the Shakespeare Centre on the left-hand side of the Birthplace A short exhibitionshows you items such as a prized First Folioand the foot of Stratfordrsquos Old Market Cross

from where glover John Shakespeare wouldhave sold his wares A walk through the gardens leads to

the house itself You enter through theself-contained annexe where William and Anne Shakespeare spent the first years oftheir married life and where their childrenSusannah Judith and Hamnet were born eannexe was later occupied by Williamrsquos sister Joan You can walk through the parlour andthe dining room to Johnrsquos workshop where heproduced gloves and other leather goods

A staircase leads to two bedrooms onefor the girls one for the boys and a loft spaceis visible where the apprentices would haveslept Finally you reach the birth room themain bedroom in which William and his sevensiblings were born

Guides are on-hand in all rooms to tell youtheir history and other gems of informationComplete your visit by watching classicShakespearean speeches performed in thegarden by resident acting troupe Shakespeare

Aloud and then picking up some souvenirs inthe gift shop and excellent bookshop

e five house ticket is the best value givingyou entry to all of the properties (HarvardHouse is a current alternative to New Place)and allowing you to view Shakespearersquos Gravein Holy Trinity Church

The Avon and Boat trips A walk along the Avon is a must in any seasone gentle stroll from the RSC to Holy Trinity

Church will take you past drooping willowssmoothly sailing swans and green parklandFor a diff erent perspective on the town you cantake a boat trip along the river itself Startingfrom near the RSCeatre you cruise gentlydown to the church where Shakespeare wasbaptised and buried before turning back andheading past the theatre and under CloptonBridge Itrsquos a bridge that William himself would have known built as it was around1480 e Avon is very pretty everywhere

you look are the incredible tame (and alwayshungry) swans and picturesque houseboatse banks are lined with weeping willows that just might have been the inspiration for poorOpheliarsquos watery end in Hamlet If you wouldrather take a slower self-driven trip there arerowing boats canoes and small speedboatsfor hire Beware though these are not aseasy to control as they look and you may wellspend a good proportion of your allottedtime relearning how to row and avoiding

Stratford-upon-Avon

The birth roomat ShakespearersquosBirthplace

Molly fromShakespeare Aloudin the Birthplacegarden

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SHAKESPEARE magazine 21

other hapless river tra ffic Boat trips typicallylast for around 40 minutes and are especiallypleasant in the late afternoon when the sun setsslowly behind the church steeple For addedluxury you can take a restaurant cruise where

afternoon tea or an evening meal are served onboard or as a quicker cheaper alternative youcould take the chain ferry across the Avoneferry dates from 1937 and is the last of its kindin the UK

Nash House and New Place

As well as the Henley Street property theShakespeare Birthplace Trust care for fourother locations in and around Stratford allassociated with Williamrsquos family Nash House

and New Place were adjoining propertieseformer was the home of Judith Shakespeareand her husband while the latter was thefamily home that William purchased in 1597at the time the second most expensive housein the town Sadly it was demolished by asubsequent owner but the Trust are currentlyundertaking a massive renovation of the siteis means that the properties will not be opento the public until 2016 to coincide with the400th anniversary of Shakespearersquos death

Hallrsquos Croft

A brief walk from New Place will take youto Hallrsquos Croft the home of SusannahShakespeare and her husband the physician John Hallis is an interesting property in its

own right and is partly set up to show how apractising physician would have worked at thetime A special mention too must goe Arterthe award winning independent craft shopadjoining the building and to the beautifulgarden in which open air performances ofShakespearersquos plays are sometimes performed

Stratford-upon-Avon

Holy TrinityChurch viewedfrom the Avon

Nash House andNew Place

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22 SHAKESPEARE magazine

Anne Hathawayrsquos Cottage A short distance from Stratford is Shottery where you can find the beautiful cottage

which was the home of the Hathaway familySet in yet another lovely garden this is thehouse in which Anne Hathaway grew upand was courted by the young William JohnShakespeare served with Anne Hathawayrsquosfather on the town council so their childrenprobably knew each other from a young agee family remained associated with thecottage for several centuries and have spunmany a yarn about the young lovers theveracity of which are highly questionable

However the stone floor of the kitchen isoriginal and we know that William must have walked those stones many many times

Mary Ardenrsquos Farme last of the Shakespeare properties is Mary Ardenrsquos Farm Shakespearersquos mother lived hereand itrsquos where she probably took the infant William when plague broke out in Stratfordshortly after his birth Open from March toNovember only the farm is run as a working

Tudor farm with costumed guides caring forthe buildings and the animals Itrsquos a great placefor a family day out with plenty to see and doand numerous activities runningere are

daily falconry shows archery animals to feedand games to play You can even treat yourselfto a genuine Tudor meal in the cafe ndash pottageand home-baked breads are a speciality

What if you donrsquot have a care town itself is fairly small and all themain attractions are within walking distanceHowever the easiest way to get around and toenable a visit to Anne Hathawayrsquos Cottage andMary Ardenrsquos farm is to the Hop On-Hop Off City Sightseeing busis will take you to allthe main town locations and also to Shotteryand Wilmcote A day ticket will give youunlimited access to the buses and allow you tovisit all of the Shakespeare properties e buscan be picked up by the statue of Touchstonethe jester at the top end of Henley Street

Walking Tours Another excellent way to see the main sites ofStratford and to learn some of the historicaltales of the town is to take a walking tour

Stratford-upon-Avon

Anne HathawayrsquosCottage

Mary Ardenrsquos Farm

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ere are several options depending on thetype of tour yoursquod likee town guides runhistorical tours of the town every day (yesevery day) of the year For those who like to be

a bit more daring there are evening ghost walksled by costumed guides who will tell you someof the spooky tales of Stratford Both of thesetours start from the Swan Water Fountain onthe riverside

Or if you like the idea of being guidedby Shakespeare himself on a Saturday (andMonday to Saturday through the summerholidays) there are town walks led by the manhimself (or someone who looks an awful lotlike him)ese run from Tudor World onSheep Street an interesting museum in thehouse that belonged to the man who wasallegedly the model for Sir John Falsta ff

Holy Trinity Church Another must-see is the townrsquos 13th centurychurch with its distinctive spire that dominatesthe view from the river Remember that if youhave a ticket to the Birthplace properties yourvisit to the grave is free e church is famousfor being where William Shakespeare wasbaptised on 26 April 1564 e old font that

was used for the baptism is displayed in thechancel along with copies of both the registerof baptism for April 1564 and the register ofburials for April 1616 where Shakespearersquosname can be clearly seen Also in the chancelin front of the altar are the Shakespeare familygraves Williamrsquos bears its infamous curse

ldquoGOOD FRIEND FOR JESUSSAKE FOREBEAR

TO DIGG THE DVST

ENCLOSED HEREBLESTE BE YE MAN YT SPARESTHESE STONES

AND CURSED BE HE YT MOVESMY BONESrdquo

On the wall above the grave is the effigy of

Shakespeare Itrsquos one of the few images which was produced within the lifetime of AnneShakespeare and probably one of the mostauthentic likenesses of her husband

The Guildhall and King EdwardrsquosSchoolDirectly opposite the site of New Place standthe Guildhall and the townrsquos old grammarschool Both of these places have links to theShakespeare family King Edwardrsquos Schoolis where the young William is believed tohave studied and itrsquos probably where hefirst encountered the classical texts which soinspired him As the son of a town councillorhe would have been entitled to a placee

old school is sometimes open to visitors at weekends or during the holidays but theschool has just won a lottery grant whichshould enable them to open it as a permanentattraction e Guildhall was sometimes hostto groups of travelling players and so it couldbe the site where young William first sawtheatrical performances It is widely believedthat John Shakespeare owing to his role astown bailiff was responsible for supervising the whitewashing of the medieval Doom Painting

Stratford-upon-Avon

SHAKESPEARE magazine 23

The GuildhallDoom Painting

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24 SHAKESPEARE magazine

Stratford-upon-Avon

is has been recovered and is now once againvisible above the chancel arch

The Royal Shakespeare CompanyTheatre and the riversidee riverside park is home to several interestingsights It is from here that you can get a view ofthe Clopton Bridge pick up a river cruise feedthe swans and admire the Gower Memoriale memorial was presented to the town in1888 and features a statue of Shakespeareseated upon a plinth overlooking statues offour of his best known charactersese areHamlet Prince Hal Sir John Falsta ff and Lady

Macbeth who represent Comedy HistoryPhilosophy and Tragedy Closer to the theatreis the beautiful Swan Water Fountain unveiledin 1996 If you see the water frothing fear notit seems to be a sport amongst local youngstersto fill the fountain with washing up liquid on aregular basis

e Royal Shakespeare Companyeatre was built in 1932 but has recently undergonea complete refurbishment in both the mainand the Swan theatres e building reopened

in 2010 with both theatres having beenconverted to boast thrust stages and curvedgalleries similar in shape to the originalElizabethan playhousese world renowned

Royal Shakespeare Company performshere throughout the year staging plays byShakespeare and his contemporaries as well asby newer authors ey also run an educationprogramme exhibitions family activitiesduring the school holidays and theatre toursTo see Stratford from an entirely diff erentangle take the lift up the 36 metre high towerfor spectacular views across the town

Where to eat and drinkStratford has an excellent range of eateriesto suit all tastes and budgets ere is pubgrub afternoon teas world cuisine finedining pizza pasta and fish and chips Manyrestaurants off er pre-theatre menus and ifyoursquove been on a town walk you may find thatyou can get discount vouchers for your foodere are many pubs in Stratford including theGarrick Inn the oldest pub in the town whereyou can taste the Shakesbeer specially brewedto celebrate Shakespearersquos 450th Birthday in2014 If you want to spot RSC cast members

relaxing after their showse Dirty Duck on Waterside is the place to drink

Where to stay Again Stratford-upon-Avon has a good varietyof hotels bed and breakfasts and holidayhomes All the main chains have hotels inthe town from budget brands to the luxurynamesere is an excellent choice of bedand breakfast establishments in and aroundthe town again these will suit all tastes and

budgets Airbnb also has an interesting rangeof rooms flats and houses to rent in StratfordHowever be sure to book early especially forthe prime summer months

The Shakespeare Birthplace Trustwwwshakespeareorguk

The GowerMemorial Will andPrince Hal

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M

any places around the worldhave been named afterStratford-upon-Avon thebirthplace and home of William

Shakespeare And many of those Stratfordsare home to theatre festivals of varying sizesStratford in the state of Victoria in Australiahas an annual Shakespeare festival still goingevery year while Stratford in Connecticut inthe USA had a major theatre from the mid1950s to the mid 1980s Stratford Ontarioin Canada however stands out among thesetowns and festivals not merely in scope but ininternational reputation and prestige

In 1950 Canada had no home-growntradition of classical theatre Certainly

Shakespeare was performed but there hadbeen a strong anti-theatrical movement inCanada throughout the 19th century whoseeffects still lingered throughout the first half ofthe 20th As a cultural icon Shakespeare wasedifying to be sure but certainly not to beperformed The Stratford Festival changed allof that for Canada

In the late 1940s the local newspapers andgovernment of the town conceived of the ideaof revitalising Stratfordrsquos sagging economy by

capitalising on the name of the town and its

long association with the Bard They bandedtogether and under the leadership of TomPatterson they brought over Tyrone Guthrieand Alec Guinness for the first season in1953 Guthrie had famously directed Gielgud

inHamlet

at Elsinore Castle in Denmarkand had been the manager of the Old Vic inLondon He wanted to create an acting spacethat echoed the original Globe theatre whereactors were surrounded by the audience incontrast to the proscenium arch theatres thatdominated the London and New York scenes

From the first performance which tookplace inside a giant circus-style tent on thebanks of the Avon River the festival workedto create a new aesthetic of Shakespeareanperformance The thrust stage of the FestivalTheatre designed by Tanya Moiseiwitschhas been recognised as one of the greatinnovations in stage design of the 20th centuryGenerations of actors have had to learn howto address an audience on three sides of themsometimes only an armrsquos length away

The festival has been central to the careersof Canadian actors such as ChristopherPlummer Martha Henry and even WilliamShatner Actors from the US and UK havesought to play the festival as well including

Peter Ustinov Christopher Walken and JessicaTandy Indeed these international stars notonly lend credibility but have indelibly markedthe festival For instance Maggie Smithrsquosperformance as Rosalind in As You Like It inthe 1977 and 1978 seasons is legendary in thecompany and the town

Today the festival has expanded to includemultiple performance spaces a theatre schooluniversity accredited courses and the largesttheatrical costume shop in North America

It has started countless careers inspiredcompanies such as Torontorsquos SoulpepperTheatre and helped shape the Canadiantheatre landscape for over 50 years

Stratford Festival ndash Ontario Canada

wwwstratfordfestivalca

MEANWHILE

IN CANADATherersquos more than just one Stratford you knowAnd the one in Ontario Canada has a world-renownedShakespeare Festival gives us a tour

Stratford Ontario

SHAKESPEARE magazine 25

ldquoFrom the fi rst performancethe Festival worked tocreate a new aesthetic ofShakespearean performancerdquo

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Planning to performa short selection

from Shakespeare

The 30-Minute Shakespeare

Anthology contains 18 abridged

scenes including monologues from

18 of Shakespearersquos best-known plays

Every scene features interpretive stage

directions and detailed performance

and monologue notes all ldquoroad testedrdquo

at the Folger Shakespeare Libraryrsquos

annual Student Shakespeare Festival

THE 30-MINUTE SHAKESPEARE is an acclaimed series of abridgments that tell the story of each play while keeping the beauty ofShakespearersquos language intacte scenes and monologues in this anthology have been selected with both teachers and students inmind providing a complete toolkit for an unforgettable performance audition or competition

NICK NEWLIN has performed a comedy and variety act for international audiences for more than 30 years Since 1996 he hasconducted an annual teaching artist residency with the Folger Shakespeare Library in Washington DC

The 30-Minute Shakespeare series is available in print and ebook format at retailersand as downloadable PDFs from 30MinuteShakespearecom

The 30-Minute Shakespeare Anthology

includes one scene with monologue

from each of these plays

ldquoLays the groundwork for a truly fun and sometimes magical

experience guided by a sagacious knowledgeable and intuitive

educator Newlin is a staunch advocate for students learning

Shakespeare through performancerdquo mdashLibrary Journal

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Roaslind Lyons

28 SHAKESPEARE magazine

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For UK artist Rosalind Lyons the Bard is a

constant presence in her creative life She tells

us how Shakespeare inspired the haunting and

dreamlike works that adorn these pages

Words and paintings by Rosalind Lyons

Rosalind Lyons

SHAKESPEARE magazine 29

Left TheRoaring Boys

PAINTINGSHAKESPEARE

S hakespeare has long been at the heart ofmy work sometimes directly and obviouslyin the subjects and often in the titlesBut always Shakespearersquos words charactersand stories are there in my head when Iam painting ndash a perpetual conscious andunconscious presence

My style echoes that of the Renaissancepainters and Elizabethan portraits andthese influences combined with a life-long love of Shakespeare made my firstvisit to Shakespearersquos Globe pivotal Iexperienced a powerful sense of connectionand recognition Here suddenly ideasand themes with which I had been so longpreoccupied were brought to life

I subsequently gained access to theGlobe to draw and later spent some time

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as Artist in Residence thereat experienceprompted more in-depth exploration notonly of Shakespeare and painting but of therelationship between painting and theatreere are of course the strong visualconnections ndash both are spaces for spectacleand illusion But also compelling ideas oftransformation imagination storytelling andidentity And overall the theme of ambiguitye blurring of boundaries between realityand fiction male and female light andshadow past and present I am fascinated byhow we respond to history how we re-presentand re-imagine the past And the figures inmy paintings are imagined as belonging toboth now and then ndash flitting back and forthacross the threshold between past and presentbetween Shakespearersquos time and our own

modern worldI have painted some specific characters

from Shakespeare but many subjects ofmy paintings are anonymouse figuresare unknown their place purpose role is amysteryis anonymity is unsettlingereare clues in the setting in the costumes ndash orperhaps I should just say in the clothes theyare wearing ndash but the context is not obviousI am fascinated by the dramatic convention ofcross-dressing ndash and particularly the inherent

confusion as with Rosalind ( As You Like It )and Viola (Twelfth Night ) in the idea of aboy playing a girl playing a boy Many of thecharacters I invent are androgynous theirgender and age uncertainis ambiguityof identity interests me in the context ofvisual illusion and theatrical transformationthe idea of inbetween-ness and somethingunresolved

Like theatre my paintings are concerned with inventing characters and the creation

Right No MoreYielding But A

Dream

Roaslind Lyons

30 SHAKESPEARE magazine

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of an imaginary world and I am particularlyattracted to the fools fairies and witchesIn A Midsummer Nightrsquos Dream the fairiesrsquoactions may seem malevolent or benign or just mischievous but there is definitely a dark

side an underlying sense of threate Fool too is intriguing Shakespearersquosfools frequently describe themselvesor are referred to as a nobody but areunquestionably much moree fool is anoutsider concerned with but at the same timeseparate from the story He ndash or sometimesshe ndash doesnrsquot quite belong anywhere butseems to exist on the boundary between thefamiliar and the uncanny

I am attracted to the strange to mysteryand shadows and try to express through myimages a strong feeling that it could be thator maybe something else As Orsino says atthe conclusion of Twelfth Night ldquoA naturalperspective that is and is notrdquo While makinga painting and even when it is finished Idonrsquot know really who my characters are ndashthey remain elusive But I like not knowingand ultimately meanings always change anddepend on individual perceptions

My experience at the Globe led to aparticular fascination with the ambiguous and

protean quality of the theatrical performerhow their identity transforms and fluctuatesI was attracted by this when watching

Rosalind Lyons

SHAKESPEARE magazine 31

Above A MidwinterNightrsquos Dream

Right Three Fools

Far right FollowingDarkness

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rehearsals observing actors shift between selfand impersonation between diff erent realitiesand identities When they are not acting theyndash metaphorically and often literally ndash melt

into the shadows I am interested too in thephysical and symbolic threshold between lsquoonrsquoand lsquooff rsquo-stage the transformation inherentin an actor moving from the wings onto thestage assuming another self and anotheridentity Particularly evocative is the fact thatactors were colloquially known as shadowsin the Elizabethan playhouses ndash suggestingsomething unknowable and insubstantialIn the Prologue to Henry V Shakespeare hasthe Chorus describe the players as lsquociphersrsquoimplying deception and secrecy

Artists in the past who have tackledShakespeare have generally produced imagesthat directly illustrate the text or representfamous actors or scenes from a particularperformance Today as well as on the stageShakespearersquos plays are frequently re-imaginedin very successful film and TV adaptationsbut I have struggled to find more than ahandful of contemporary fine artists whohave engaged with Shakespeare on any levelPerhaps Shakespeare as a subject is seen

by some as too traditional too lsquopopularrsquoor simply just too lsquooldrsquo But in the theatreand in literature there is an ever-increasingenthusiasm for innovative interpretationsof the plays and for me Shakespeare is aconstant inspiration

e Prologue of Henry V also urges theaudience to ldquoPiece out our imperfections withyour thoughtsrdquo to liberate the imaginationand create another kind of reality to shapeour own fantasies within the ldquowooden Ordquo of

the theatre In my paintings I endeavour todo the same

Explore the work of Rosalind Lyons atwwwrosalindlyonscom

Above These Two CreaturesBelow Therersquos Magic In Thy Majesty

Roaslind Lyons

32 SHAKESPEARE magazine

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$amp( ) +-01

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Aidan OrsquoReilly

34 SHAKESPEARE magazine

Looking forRichard AidanOrsquoReilly is playingShakespearersquosbaddest monarch

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Aidan OrsquoReilly

SHAKESPEARE magazine 35

You are legally blind having been

diagnosed with retinoblastoma as an

infant How did this impact on your

acting aspirations and early career

ldquoMy parents did a good job raising me Inever grew up thinking of it as a handicap orthinking it could hold me back from what I wanted to do I couldnrsquot play sports at all soI think my parents were grateful that I hadsomething that I was passionate about from avery young age

ldquoI went to a public elementary school with a program designed for the blind so itfelt very natural for me to be the way that I was And acting has always been part of thatrdquo

You went to RADA in London Was

there a reason why you wanted to

train in England and not in the US

ldquoItrsquos always been an ambition of mine to

travel as far and wide as possible Also myhero growing up was Peter OrsquoToole ndash Iread his autobiography in high school andlearned he had gone to RADA and decided I wanted to go there too So I auditioned therenot knowing that RADA is arguably thebest drama school in the English-speaking world Consequently I was quite relaxed atthe audition which is probably why I gotin My ignorance can sometimes serve me well Going to RADA was a life-changing

Aidan OrsquoReilly is an actor with an

inspiring story Legally blind since he

was six months old he forged a passionfor drama at an early age Aidan went

on to gain a BA with honours from

Londonrsquos Royal Academy of Dramatic

Art before touring for three years with

the American Shakespeare Center

In 2012 Aidan was diagnosed with

sarcoma a rare cancer He bounced

back in 2014 after intensive treatment

and is now cancer-free We spoke to

Aidan as he prepared to play the title

role in Richard III for Californiarsquos Marin

Shakespeare Company We asked himto share his story and to give us his

take on one of Shakespearersquos most

fascinating characters

Interview by Jen Richardson

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Aidan OrsquoReilly

36 SHAKESPEARE magazine

experience I was lucky enough to havecontact with brilliant professors and Irsquom stillin awe of the students I went to school withI wouldnrsquot trade that experience for anythingrdquo After graduating from RADA you

went on the road with the American

Shakespeare Center Tell us a bit

about that

ldquoThat was one of the happiest times of mylife In many ways I got spoiled I was a working actor 11 months out of the yeartouring nationally seeing parts of the USI had never been to before doing plays Iloved and working with directors who werevehemently faithful and respectful to the text When I wasnrsquot on the road I was in residenceat the Blackfriars Playhouse in StauntonVirginia with many extraordinary actorsI was very lucky to be thererdquo

Three years ago you were diagnosed

with sarcoma How did you

overcome this enormous challenge

and return to the stage in 2014

ldquoThe only reason Irsquom still alive is because ofmy mother Lily and my wife Jocelynn AlsoI was fortunate that we caught it before it hadspread and it was on my leg and away fromany major organs

ldquoI am very grateful for my team of doctorsat UCSF who did an incredible job in mytreatment and follow-up care Irsquom glad to beback to workrdquo Yoursquore now due to play Richard III

with Marin Shakespeare Company

Howrsquos it going so far

ldquoAt this point Irsquom in the paperwork stage

of things A lot of reading the HenryVI s biographies of Richard as well asperformance history of the play itself Irsquomdoing a fair amount of limping around myapartment as well I canrsquot wait to get intorehearsals next weekrdquo Tell us about Marin Shakespeare

Company and what appealed to you

about working with them

ldquoRobert and Lesley [Currier MSCrsquos Artistic

Director and Managing Director] arefascinating people Their intelligence andhumour is contagious Without questionthere is a lot to be learned from themrdquo Richard IIIrsquos remains were discovered

in 2012 and reburied this year Is all

the new information about Richard

influencing your portrayal

ldquoYes and no My job isnrsquot to play the historicalRichard but the Richard that Shakespeare has

Aidan believesthat Richard IIIrsquosobsession withcontrol is whatcauses his downfall

ldquoPeter OrsquoToole wasmy hero He went to

RADA so I wanted to go there toordquo

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Crowning gloryAidan with MarinShakespearersquosRobert Currier

created Itrsquos helpful to know the facts of thesituation in order to gain insight into whathas been changed in Shakespearersquos versionof events

ldquoI met with a friend of mine who is a

retired surgeon who walked me through themedical information that has come to lighton Richardrsquos body and I will certainly usethat to inform my physical choicesrdquo Unlike many actors yoursquore the right

age to play the historical Richard III

Do you feel Richardrsquos relative youth

has been overlooked

ldquoI do Richard is a young man who believeshe is hardened by the experiences he andhis family endured during the War of theRoses and believes himself to be beyondhuman emotions and the lsquorestrictionsrsquo of aconscience He isnrsquot He pays the bill for thehorrible things he does That lack of self-knowledge is not exclusive to youth but I feelit makes him more sympathetic and relatableto an audiencerdquo Some people think Richard III shows

Shakespeare delivering a highly

effective piece of Tudor propaganda

Where do you stand on thatldquoI think Shakespeare has a soft spot foroutsiders and underdogs Although his playssometimes work within the confines of thebiases of Elizabethan society he canrsquot help butmake his lsquovillainsrsquo fascinating human beings

For as horrible as Richard is itrsquos amazing tosee how audiences relate and respond to himrdquo Which other important themes do

you feel Shakespeare deals with in

the playldquoThe history plays are full of extraordinarypeople who waste their lives and intelligence who sacrifice their humanity in pursuit of thecrown Itrsquos still happening today What is theattraction of power Richard never pauses tothink of why he wants the crown or if hersquodbe any good as king Turns out hersquos not butitrsquos this bizarre obsession with control thatpropels him to kill everyone off thatrsquos in his way Itrsquos also fascinating that the one characterthat is consistently kind to Richard is hisfather York

ldquoI think an argument can be made thatRichard in his warped way is trying to liveup to the image he has of his father Ofcourse York is dead and gone by the timeRichard III begins but you can glean a lotabout Richardrsquos inner workings in the way hespeaks about his father Of course itrsquos foolishto try to answer questions that Shakespearedoesnrsquot and Irsquom not trying to say this solvesa mystery but I think itrsquos interesting Itrsquos only

an element itrsquos not the answerrdquo Richard III is listed as a historical

play in the First Folio but in the

quarto edition it is termed a tragedy

Which category would you put the

play in and why

ldquoI think of the history plays from Richard II to Richard III as one vast play an epic thatencompasses all the categories I think if youlook at Richardrsquos progression through those

plays you see a great mind warped by the War of the Roses and that certainly adds tothe tragic element I think of Richard III asthe final chapter of a great epicrdquo

Aidan OrsquoReilly stars in Marin ShakespeareCompanyrsquos Richard III from 4-27 September

Aidan OrsquoReilly

SHAKESPEARE magazine 37

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Scotland Shakes

SHAKESPEARE magazine 39

Bonnie Prince

Brian Fergusonas Hamlet in theCitizens Theatre

production Photoby Tim Morozzo

Billy William Shakespeare is undoubtedly Englandrsquos

Bard But how is he viewed north of the border

Our Caledonian correspondent surveys the state

of Shakespeare in Scotland and meets esteemed

outdoor theatre company Bard in the Botanics

Words Paul F Cockburn

T owards the end of May thisyear a BBC Scotland afternoon

news bulletin surprisinglyturned its attention to aforthcoming production of

ldquoone of William Shakespearersquos best lovedplaysrdquo ndash A Midsummer Nightrsquos DreamHowever this particular production wasnrsquotconsidered newsworthy because it came froman amateur group based in Dumfries andGalloway Not even that the CrossmichaelDrama Club were one of just seven amateurScottish groups taking part in the Royal

Shakespeare Companyrsquos Open Stages project which aims to help amateur companies

extend their repertoiresNo the lsquohookrsquo was how this newproduction was Shakespeare ldquobut no asyou micht ken itrdquo Because it had beenreimagined in Scots as A MidsimmerNichtrsquos Dreme

As it happens writer John Burns saysthat his principle reason for translating AMidsimmer Nichtrsquos Dreme was simply theintuition that it being in Scots would workto the benefit of the production ldquoItrsquos not

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Scotland Shakes

40 SHAKESPEARE magazine

so much that 16th century English canrsquot docertain things more that using Scots brings itcloser to a Scottish audience and to audiences who might think Shakespeare too fancyrdquo hesays ldquoI feel too that Scots can catch the sheerphysical power of Shakespearersquos language He writes lines you really feel physically when

you say them out loud My intention was touse Scots to produce a text that was actableand which would be accessible and enjoyablefor the audience and the Scots was a majorpart of thatrdquo

Arguably translating Shakespeare intoScots ndash viewed by many as a distinct languagefrom English ndash is just one way of finding thecontinued relevancies of Shakespearersquos writing with the here and now Certainly John Burns was keen to see if Scots ldquocould match the way

Shakespeare switches tonehellip from broad attimes bawdy humour to moments that aremore serious or even sinisterrdquo

Yet there is a wider perspective whether wersquore discussing translation into Scots orsaying Shakespearersquos words with a Scottishaccent Willy Maley and Andrew Murphyin their introduction to Shakespeare andScotland (published by Manchester UniversityPress in 2004) go as far as describing thetranslation of Shakespearersquos Macbeth into

Scots as ldquoa patriotic actrdquo not least becauseof ldquothe political commitment implicit intranslating from English to Scots reversing

the dominant dubbing practice infi

lmsrdquoGlasgow-based novelist and playwright Alan Bissett ndash who actively campaigned fora Yes vote during last yearrsquos IndependenceReferendum ndash has since written about howsince the 1970s Scottish theatre had ldquoadeep engagement with the shifting beastof Scottish politicsrdquo Although Bissett wasfocusing primarily on original works byScottish playwrights and directors itrsquos worthpointing out that Shakespeare ndash despite therebeing absolutely no evidence to prove he evertravelled north of Carlisle ndash has played hisown part in this

As Maley and Murphy point outldquoScotlandhellip never had precisely the samerelationship with the Bard as England hasbut has experienced a fraught process ofappropriation incorporation and resistancerdquoIn part this is because Shakespeare ndash in hislatter career ndash was among the first lsquoBritishrsquo writers Many of his later plays ndash Cymbeline King Lear even Hamlet ndash were produced

A tartan-cladAntipholus andDromio in Bard inthe Botanicsrsquo TheComedy of Errors

Brian FergusonrsquosHamlet CitizensTheatre productionPhoto by TimMorozzo

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under the patronage of Scotlandrsquos King JamesVI (aka James I of England) Each in theirown way can be said to touch on ldquothe matterof Britainrdquo the complex relationship between

the constituent elements of Jamesrsquos newlsquounitedrsquo kingdom which the Stuart monarch was determined to see joined into oneat never quite happened of course

Even after the 1707 Act of UnionScotland retained its own legal educationaland religious systems along with anaccompanying sense of Scottish identity ndash which survived even the height of the Britishempire Yet from the 1970s on there havebeen notable changes in how Shakespeareis treated by Scotlandrsquos producing theatrecompanies Several years ago GlasgowrsquosCitizenseatre delivered a powerful Romeoand Juliet in part because of their decision toset the action in a present-day sectarian Westof Scotland ndash with accents to match

ldquoEnglish-accented Shakespeare carriesa specific resonance in Scotland one thatdirectors usually choose to avoidrdquo pointsout Mark Fisher a freelance journalist criticand author of the forthcoming book How toWrite Abouteatre

ldquoIrsquom not sure exactly when attitudesstarted to change but Irsquod say the argumentin favour of Scottish-accented productionshad been pretty much won by the 1990sBy that time companies such as Raindogand directors such as Hamish Glen hadbeen making a point of casting very Scottishproductions of Shakespearerdquo

One example of how things hadprogressed even by 1992 was the late KennyIrelandrsquos production of A Midsummer

Nightrsquos Dream his first as Artistic Directorat Edinburghrsquos Royal Lyceum ldquoHe castthe mechanicals with Scottish accents andeveryone else with English accentsrdquo MarkFisher explains ldquois I said in my review wasa fundamental error ndash or some such phrasee message it sent out was that people withScottish accents were foolish figures of fun whereas people with English accents wereserious figures of respect

ldquoIreland reacted furiously to my review

and made the case that he had based thecasting of the mechanicals around (the actor) Andy Gray who has a Scottish accent Inother words the meaning I inferred hadnot been deliberate I think itrsquos true to sayhowever that Ireland never cast a Shakespearelike that againrdquo

Gordon Barr is Artistic Director of

Glasgow-based Bard in the BotanicsScotlandrsquos only professional Shakespearecompany (see following pages)

ldquoWersquove never gone out of our way tomake Scottish versions of these texts norhave we gone out of our way to have classicaltraditional voicesrdquo he says ldquoMost of our coreactors have made their careers up here so wethink of them as Scottish actors

ldquoat is important to us to not overlylook outwards for the acting company As

much as possible we work with people who are based in Scotland Wersquore regularlyproducing Shakespeare here and we want tobe a part of the training to ensure that there isa range of strong classical actors hererdquo

Citizens Theatrewwwcitzcouk

Owen Whitehawas the Fool andDavid Hayman asLear in CitizensTheatrersquos King Lear Photo by TimMorozzo

Scotland Shakes

SHAKESPEARE magazine 41

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Bard in theBotanicsrsquo As You Like

It takes Rosalind andOrlando into theopen air

ldquoTouring is something that we have wanted to do foryears but was somethingthat we could not afford

to do without fundingrdquo says Gordon Barr Artistic Director of Scotlandrsquos only professionaloutdoor Shakespeare festival Bard in theBotanics If therersquos any irony attached tothe companyrsquos first major tour of Scotland which took place in early 2015 itrsquos that theperformances of their acclaimed Romeo and Juliet ndash featuring a cast of five ndash were playedexclusively indoors

ldquoNobody is touring classical theatre in

Scotland at the minute so itrsquos importantto usrdquo Barr adds ldquoOur work is so muchabout accessibility One of the joys of beingoutdoors is that people come to see the work who wouldnrsquot buy a ticket for a theatre Ifyou can bring a picnic sit out on the grass while watching the show it feels easier moreaccessible But people canrsquot come from Thursoto Glasgow for a night just to see a productionof Shakespeare They should be able to see itin Thurso So that is kind of where the urge totour came fromrdquo

Bard in the Botanics has presented outdoorShakespeare within the grounds of GlasgowrsquosBotanic Gardens since 2003 This yearrsquoslsquoUnlikely Wondersrsquo season presented newproductions of Loversquos Labourrsquos Lost The Merchant of Venice Richard II and A Midsummer Nightrsquos Dream in lsquoreprsquo between24 June and 1 August

The companyrsquos founder Scott PalmerBarr explains had done a lot of his training atthe Oregon Shakespeare Festival one of the

biggest in North America ldquoWith the kindof drive and enthusiasm that only Americanshave he managed to convince the entire cityof Glasgow that outdoor Shakespeare would work and that the weather wasnrsquot going to be

a problemrdquoTwo years later Palmer moved on and Barr

ndash originally involved as a director ndash succeededhim as Artistic Director ldquoIf anyone then hadsaid that I would end up spending 12 yearsrunning an outdoor Shakespeare festival I wouldnrsquot have believed themrdquo he says in hisoffice hidden behind some of the Botanicsrsquogardening sheds ldquoI very quickly fell in love with it once I started working here Despiteall the trials and tribulations that outdoortheatre in Scotland brings with it therersquos just

something magical and special about it Itrsquos a very close-knit company and thatrsquos sort of keptus all here as long as we have beenrdquo

While the annual summer season ofShakespeare plays in the Botanics will remainat the centre of what the company does ndashldquoOtherwise Bard in the Botanics becomesa rather strange namerdquo ndash Barr is very much

Outof theGarden

This year has seen Glasgowrsquos Bard in the Botanicsdo something completely unexpected They wentout on a tour of ndash whisper it ndash indoor venueshellip

Scotland Shakes

42 SHAKESPEARE magazine

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Scotland Shakes

SHAKESPEARE magazine 43

focused on building on the touring side ldquoBecause it was our first ever tour we

did end up taking Romeo and Juliet to theestablished Scottish touring circuitrdquo he addsldquoIt takes a while to build up relationships with the smaller venues thatrsquos going to bean ongoing process for us Even so we weretaking Romeo and Juliet to places like Mulland Stranraer ndash communities and venues thathavenrsquot had a lot of classical theatre comingthrough themrdquo

The choice of play was deliberate too ldquoIt was a production that was ready to go whichhad received five star reviews and sold out itsextended run in the Botanics in 2012 So weknew that the work was good but therersquos nodoubt that for a first tour we wanted to makeit easier for the venues to sell it Most venuesknow they can find an audience for Romeo and Juliet rdquo

In time he hopes that audiences aroundthe rest of Scotland will come to trust the Bardin the Botanics name sufficiently to take on theless familiar plays

ldquoYou just donrsquot know how quickly acommunity is going to turn out for Henry IV yetrdquo he says ldquoHopefully three or four toursdown the line theyrsquore going to turn out forBard in the Botanics ndash and if it happens to be

Henry IV well thatrsquos greatrdquoGiven their reimagining of A MidsummerNightrsquos Dream as a 1920s burlesque musicalis there a particular Bard in the Botanicsapproach to Shakespeare

ldquoOur kind of unofficial motto is lsquoBe BoldBe Braversquordquo Barr says ldquoIf wersquore continuingto stage these plays around 400 years afterShakespearersquos death I think therersquos an urgencyto ask lsquoWhyrsquo It is important to questionlsquoWhat is the story that we want to tellrsquo I wantto see how these plays intersect with historyand todayrsquos society not to present museumpieces

ldquoItrsquos always with an eye to try to releasesomething thatrsquos within the textrdquo Barrinsists ldquoWersquore not remotely interested ininnovation for innovationrsquos sake The playsare masterpieces thatrsquos essentially why wersquorestill doing them 400 years later But to revealsomething thatrsquos unexpected or new thatrsquosimportant to usrdquo

Bard in the Botanics

wwwbardinthebotanicscouk

Rosalind and Audreyin the forest Bardin the Botanicsrsquo As You Like It

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Shakespeare at the Tobacco Factory stf 2016 Seasonco-production with Tobacco Factory Theatres

HAMLETBy William Shakespeare

Directed by Andrew Hilton

Main run Thu 11 February ndash Sat 26 March 2016

In repertoire with Allrsquos Well That Ends WellMon 25 ndash Wed 27 April Sat 30 April 2016

The most famous play in world drama Hamlet

turns a new face to every decade So many

elements - political madness sex murder ndash all

brought together in a drama that is both a thriller

and the profoundest meditation on our human

condition

ldquoThrilling workrdquo The Guardian on Romeo amp Juliet

ldquoBullseyerdquo WhatsOnStage on Romeo amp Juliet

Shakespeare at the Tobacco Factory Friends Priority Booking opens Wed 23 September 10am

wwwstf-theatreorguk

Tobacco Factory Theatres Members Priority Booking opens Wed 16 September 10am

wwwtobaccofactorytheatrescom

Public Booking opens Wed 30 September 10am

Tobacco Factory Box Office 0117 902 0344

ALLrsquoS WELL THAT ENDS WELLBy William Shakespeare

Directed by Andrew Hilton

Main run Thu 31 March ndash Sat 23 April 2016

In repertoire with Hamlet

Thu 28 ndash Fri 29 April Sat 30 April

A young woman using skills bequeathed herby her father saves the French Kingrsquos life and

is rewarded with the right to choose her own

husband But what if the chosen one wonrsquot play

the game How can she get him into bed How

can she make him love her

ldquo There is something approaching real

magic hererdquo The Arts Desk on The School for Scandal

P h o t o s M

a r k D o u e t

Dorothea MyerBennett in Richard III

Benjamin Whitrowand Julia Hills in The

School For Scandal

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Having conquered

Hollywood and vanquished

the global entertainment

industry video games now

on our culture So where

does the Bard stand in all of

this We sent a Shakespeare

scholar to investigatehellip

Words Andrew Bretz

Shakespeare video games

46 SHAKESPEARE magazine

T eGamersquos A oot Silent Hill is one

big-name gamewhich includesShakespearereferences

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Shakespeare video games

SHAKESPEARE magazine 47

German cardboard Macbeth datingfrom the early1800s

Hamlet reimaginedRyan Northrsquos To Be

Or Not To Be

W

hen you walk intothe wood panelled Victorian Gothicismof the Gail Kern Paster

Reading Room at theFolger Shakespeare Library in WashingtonDC video games are probably the lastthing on your mind Buried deep withinthe archives however are a set of fragilecardboard figures printed in Germany in theearly 1800s representing each of the maincharacters of Macbeth

Nineteenth century German children would play with these figures on smallcardboard stages no bigger than a dollhouseey could replicate the story as it was toldin Shakespeare or use their imagination tochange the ending letting Lady Macbethsurvive and bringing Duncan back from thedead if they so chosee limits of the game were the limits of their imagination

Today the lsquogamificationrsquo of Shakespeareis a big business from Ryan Northrsquos choose-your-own-adventure edition of Hamlet To Be Or Not To Be to IDW Gamesrsquosupcoming Kill Shakespeare board gamebased on the comic of the same name

Gamifying Shakespeare is filtering intoschools libraries and the theatrical worldas well with the University of California atDavis the Stratford Festival in Ontario theGlobeeatre in London and the LondonMetropolitan Archives all experimenting with video game elements in exhibits productionsand research

Why video games In a sense this is thelogical next step in the media development ofShakespeare Hersquos everywhere in other media

books movies merchandise But videogamese answer for that depends on whoyou ask

StorytellingOccasionally individuals or publishinghouses develop video games that try to tellthe story of say Hamlet yet this is relativelyrare One example would be Elsinore a time-looping narrative adventure game set in the world of the play Players play the game as

Ophelia who wakes up knowing that in fourdays the entire court will be dead and shemust do something to stop ite problemis that she is stuck in a time loop reliving thesame four days over and over againat said Shakespearersquos presence in the

video game industry tends to be focused oncitation rather than adaptation of the playsat is video games for Xbox Playstationand other popular gaming systems often

just cite Shakespearersquos plays as a part of acommon cultural heritageese games donrsquotrestage say Hamlet but they quote the playIn these cases Shakespeare is used to establisha point of identification for the audience His writing tells the audience something aboutthe character or the situation

Given that audiences are supposedto be able to identify the quotations asShakespearean it is unsurprising that Hamlet is the most popular text for game designers to

cite Ine Elder Scrolls Online for instancea merchant NPC (non-player character)quotes Polonius when players interact sayingldquoNeither a borrower nor a lender berdquoe words establish the NPCrsquos role as a merchant while fitting the medieval world of thegame In the game LA Noire upon pickingup a fake shrunken head at a crime scene adetective leaps into high melodrama withldquoAlas poor Yorick I knew him Horatiordquoequotation and the clever voice acting establish

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Shakespeare video games

48 SHAKESPEARE magazine

the characterrsquos strait-laced yet macabre senseof humour

Sometimes citing Shakespeare is a partof a critique of a larger theme In the game Mass E ff ect the Elcor are a race of elephantinealiens who preface all statements with adescription of the emotion they are feelingand who speak in a slow monotonous drone As players interact with the expansive worldthey can discover a number of advertisementsfor an all-Elcor Hamlet e idea of theElcor actor ndash the ultimate in a flat woodenperformer ndash having to preface ldquoTo be or not

to berdquo with ldquomorose ruminationrdquo goes beyondthe simple humour of a bad Shakespeareperformance It subtly asks what it is aboutacting (and especially voice acting) that isvaluable

Shakespeare can appear in video gamesnot merely as a marker or contextualisationtool but as a part of a puzzle For example inthe game Silent Hill 3 players must arrange aset of Shakespeare anthologies on a bookshelfin an abandoned shopping mall in order to

proceed in the game At the hardest levelthe puzzle clue takes the form of a poemthat references all the major tragedies Romeoand Juliet King Lear Macbeth Othello andof course Hamlet e bloody nature of thetragedies fits with the bloody nature of theSilent Hill series of games which fall into thesurvival horror genre

Popular video games have also servedas the inspiration for games that engage with Shakespeare in a more direct way For

example Daniel Fischlin at the Universityof Guelph in Ontario Canada led a teamthat created a Flash game called rsquoSpeare Itrsquos

a scrolling arcade-style game suggesting thersquo80s hit Galaga which sees players identifyingand navigating through a series of enemies who turn into words upon being destroyede player progresses through the levelsby collecting the correct words to createShakespearean quotes learning Shakespeareantrivia along the way

ImmersionOne of the most exciting aspects of videogames is the ability to immerse the player inthe world of the game in a way that othermedia simply cannot do Being able to walkaround Prosperorsquos cell Julietrsquos balcony orto stand before the ghost of Hamletrsquos fatheras he cries out ldquoList list O listrdquo ndash theseexperiences are made possible through videogame technology

Students of Scenic Arts at the Universityof Hildesheim in Germany created Projekt ARIEL or SturmMOD in 2008 using a lsquomodrsquo(or modification) to the engine that runs

the game Far Cry 1 e performance artproject allowed users to experience Prosperorsquosisland interacting with certain parts andexploring others Players could walk aroundan imaginative rendition of Prosperorsquos cell and witness or interact with elements of the playincluding diff erent characters like CalibanProspero and Miranda

Four days to savethe Danish court

Elsinore

Another Hamlet reference this timein LA Noire

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Shakespeare video games

SHAKESPEARE magazine 49

Gina Bloom at the University of Californiaat Davis is presently spearheading a projectthat will be demonstrated in the lobby of theStratford Festival theatre in Ontario Canadathis summere project Play the Knave AShakespeare Performance Videogame lets usersdesign a virtual performance space and thenperform a scene from a Shakespeare playinhabiting this constructed space with anavatar As a Davis insider explains ldquoWe use akinect motion capture camera to capture theuserrsquos skeletal data so that players use theirentire bodies to control their avatarrsquos gesturesonscreen all the while reciting the lines from

Shakespearersquos scenerdquo is literally immersesthe players in the scene

Shakespearersquos Globe eatre in Londontook another tactic regarding immersionin the production of the game HemmingsrsquoPlay Company Hosted on the Playgroundportion of the Globersquos website and thusaimed at an audience of children the gamehas players taking on the role of Hemmingsan Elizabethan bear who leads a troupe oftheatrical animals such as Kit the Cat Dekker

the Dog and Slye the Foxe turn-based game leads players through

the vagaries of Elizabethan theatre practicefrom patronage to lost props and the plagueBy the end of the game players must earnenough money to rebuild the Globe after itburns down during a performance of HenryVIII

Also from Shakespearersquos Globe are twoinnovative video experiences created forchildren aged five to 11 e first Exploring

Shakespeare features two boys on a tour ofthe Globe theatre who sneak off to explorebackstage e video illustrates four plays

using short animations that are keyedto things the boys find backstage etechnology combines live action film andanimation to create an interactive touchablegame Filled with mini-games quizzes andinteresting facts about Shakespeare the gameallows players to click through the narrativeor to stop and learn more as they go along

e second video called Staging It usesthe same technology as the first film but thistime is for the 11-16 age group In this gamee Globe has filmed two actors performingfamous duologues from A MidsummerNightrsquos Dream and Macbeth on the Globestage Rather than shoot it once the actorshave performed their lines in diff erent ways(happy flirtatious defensive and so on)creating several diff erent clips per linePlayers can watch each of the clips and addtheir choice to a dynamic storyboard tobuild up their final scene Impressively theplatform allows for up to 1000000 diff erentcombinations of clips

Apps and Mini-GamesItrsquos when you start to look outside of therealm of popular video game platformslike Xbox or Playstation that Shakespeare

Silent Hill 3 Brush upyour Shakespeare ifyou want to survive

Hemmingsrsquo PlayCompany fromShakespearersquosGlobe

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Shakespeare video games

50 SHAKESPEARE magazine

really starts to pop up wherever you looke ubiquity of Shakespeare is especiallynoticeable when you start to look at apps andmini-games designed for phones and tablets

In 2012 Big Fish Games released aniPhone and iPad game called Hamlet that featured all the main characters ofShakespearersquos play but transposed them intoa save-the-princess narrative puzzle game A time traveller lands in Denmark andaccidentally kills Hamlet and so players mustcomplete his journey for him saving Opheliaand killing Claudiuse Shakespeareancontent is minimal and heavily adapted andyet it fits with the puzzle format in whichShakespeare tends to be found in videogamese Chronicles of Shakespeare Romeo amp

Juliet ande Chronicles of Shakespeare A Midsummer Nightrsquos Dream are lusciously-illustrated puzzle games for the PC In themplayers act as one of the characters from theplays gathering items and clues through aShakespearean environment

Among the literally thousands of appsrelated to Shakespeare that can be found forthe iPad or Android tablet are

e Shakespearean Insult Creator which generates invectives drawn from a wholly Shakespearean vocabulary So nexttime you want to call someone a jerk trysomething more like ldquoou fusty follyfallenfustilarianrdquo

e Shakespeare Translator whichtranslates ldquonormal English words and phrasesinto the words of Shakespeare himselfrdquo

e Shakespeare Fortune Cookie which provides short quotes from the plays

and a small trivia game Shakespeare or Die a game that

scrambles the words of famous quotationsfrom the plays and asks you to identify theplay and character who spoke the line If youmake a mistake however beware the witchesese apps are either explicitly games or

they are coming out of a game-like impulse tomake Shakespeare more accessible to everyone with an internet connection

Brave New WorldsIn a world where Shakespeare is an industrycounted in the millions of dollars per yearit is so easy to forget that Shakespearersquos playsare just that ndash playsere is a sense of joyand fun and happiness embedded in theexperience of watching them Games are oneof the ways that people over the centuries

have tried to recapture that elusive sense ofplayfulness within Shakespeare So it makesperfect sense that now with the advent ofdigital technologies Shakespeare is movinginto the digital world with a vengeance

From big studio games likee ElderScrolls to small apps that can be downloadedfor free from talking bears to immersiveperformance experiences Shakespeare iseverywhere in video games Rather than beingan undiscovered country into which the Bard

is only just beginning to emerge games havein fact engaged with Shakespeare and his works for hundreds of years And they willprobably continue to do so for hundreds ofyears to come

rsquoSpeare is a scrollingarcade-stylegame with addedShakespeare trivia

Hamlet is aShakespeare-themed puzzle fromBig Fish Games

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Meet thy makers

Helen Mears fell into bardolatryduring her teenage years and has

never recovered She is a volunteersteward at Shakespearersquos Globe

which ensures a regular diet of theBard She teaches English Film andMedia at Suffolk New College and isa specialist in teaching Shakespeareusing active methods Her favouriteShakespearean actor is Jamie Parker

and her favourite plays are the SecondHistory Tetralogy She hopes to

finish her Masters in the AdvancedTeaching of Shakespeare very soonFind her on Twitter hipster_hels

Paul F Cockburn is an Edinburgh-based freelance magazine journalist who specialises in writing about

arts and culture equality issues andpopular science Hersquos sufficiently

grey-haired for his English Literaturetraining to have sort of overlapped

with The BBC Television Shakespeareproject saving at least some of the

plays from death by academiaFind him on Twitter paulfcockburn

Jen Richardson first fell in love withShakespeare as a 15-year-old schoolgirl

ldquoHe got under my skin and hersquos still theretodayrdquo After training with a Manchester-based drama tutor she went on to pursuean acting career Drama remains a greatinterest but her focus is now on sharing

her passion for Shakespeare throughher writing In her spare time Jen is

generally down in Stratford-upon-Avonsitting on her favourite bench behind

Holy Trinity ChurchFind her on Twitter The_JenJen

Andrew Bretz is a sessional instructorof English Literature and Drama

specialising in early modern dramaHe has taught at Wilfrid LaurierUniversity the University of Guelph

Brock University and McMasterUniversity For the past two years he

has taught a special summer intensiveat Ontariorsquos Stratford Festival His PhDdissertation was on the representationof sexual violence on the early modern

stage Find him on TwitterAndrewBretz001

Just some of the contributors to this issue of Shakespeare Magazine

Rosalind Lyons is a painter whohas exhibited widely in both mixedand solo shows with work in UK

and international private collections A life-long love of Shakespeare isreflected in many of her paintings

and a particular recent focus isShakespearersquos Globe theatre where shespent a period as artist-in-residenceShe is currently studying for a PhD

in Painting and ShakespeareanTheatre at Anglia Ruskin University

in CambridgeFind her on Twitter roslyons

52 SHAKESPEARE magazine

Contributors

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Page 10: Shakespeare Magazine 08

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Shakespeare On Sale

SAVE 25 Since 1941 Dover Publications has built its reputation by offering remarkable books at

amazing prices Discover our fine catalog of the works of William Shakespeare

The complete collection of comedies historiesand tragedies all in compact 5rdquo x 8rdquo unabridgedpaperback editions The lowest-priced editionsavailable for todayrsquos educators students actorsand Shakespeare lovers of every kind

Complete and unabridged text of a play plus acomprehensive study guide with scene-by-scenesummaries explanations and discussions of the plota question-and-answer section and more

Calla Editions reg Books of Distinction for the Contemporary Bibliophile

Our premium imprint features impeccable hardcover reproductionsof some of the most beautiful books ever published Filled with

breathtaking artwork and other deluxe features each Calla Editionrecalls a time when bookmaking was considered an artform

wwwdoverpublicationscomwilliam-shakespeare

To SAVE 25 Click Here

NO minimum order required bull Use CodeWLA2 at checkout bull Expires 123115

P l u s M or ehellip

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G A L L E R Yamp R E V I E WFor a generation of Cumberbatch fans lsquoBenedict at the Barbicanrsquo is the

most sensational and controversial Shakespeare production of a lifetime

Images Johan Persson Words Liz Barrett

Hamlet

ldquoTo be or not to be ndashthat is the questionrdquo[III 1] Controversially the playrsquos most iconicspeech was moved to the beginningAs we went to press however thisdecision had apparently been reversed

Benedict Cumberbatch

SHAKESPEARE magazine 11

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Benedict Cumberbatch

12 SHAKESPEARE magazine

ldquoA villain kills my father and for thatI his sole son do thissame villain sendTo heavenrdquo [III 3]

ldquorsquoTis in mymemory lockrsquod And you yourself

shall keep the key of itrdquo[I 3] Ophelia (Siacircn Brooke)

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Benedict Cumberbatch

SHAKESPEARE magazine 13

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Benedict Cumberbatch

16 SHAKESPEARE magazine

ldquoAnd yet to me whatis this quintessence

of dustrdquo [II 2]

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Even more than London there

is one place above all that is

green and pleasant landhellip

Words Helen Mears

Pictures Helen Mears and Susan Braund

Stratford-upon-Avon

SHAKESPEARE magazine 19

W e could be in any smallpicturesque Englishtown with its medievalchurch half-timberedTudor buildings shops

restaurants and delightful riverside walksBut Stratford-upon-Avon is not just any

town Itrsquos one of the best-known most- visited and probably most-loved locations inEngland Thatrsquos because itrsquos the birthplace of William Shakespeare Itrsquos also the place heseems to have considered his home After allShakespeare grew up there went to schoolthere and spent his final days there

So here is Shakespeare Magazinersquos on-the-ground guide to Stratford-upon-Avon Hereyoursquoll find hints and tips for first-time visitorsand returning aficionados alike What to see

the best ways to see it where to stay where toeat and how to get around while yoursquore there Are you ready Then letrsquos start our tourhellip

The BirthplaceSurely the must-visit spot for any self-respecting Bardolator this is where it all beganndash the six-roomed Merchantrsquos House on HenleyStreet where in April 1564 Mary Shakespeare wife of glover John gave birth to their famousson Williame house is approached

HOME

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20 SHAKESPEARE magazine

through the Shakespeare Centre on the left-hand side of the Birthplace A short exhibitionshows you items such as a prized First Folioand the foot of Stratfordrsquos Old Market Cross

from where glover John Shakespeare wouldhave sold his wares A walk through the gardens leads to

the house itself You enter through theself-contained annexe where William and Anne Shakespeare spent the first years oftheir married life and where their childrenSusannah Judith and Hamnet were born eannexe was later occupied by Williamrsquos sister Joan You can walk through the parlour andthe dining room to Johnrsquos workshop where heproduced gloves and other leather goods

A staircase leads to two bedrooms onefor the girls one for the boys and a loft spaceis visible where the apprentices would haveslept Finally you reach the birth room themain bedroom in which William and his sevensiblings were born

Guides are on-hand in all rooms to tell youtheir history and other gems of informationComplete your visit by watching classicShakespearean speeches performed in thegarden by resident acting troupe Shakespeare

Aloud and then picking up some souvenirs inthe gift shop and excellent bookshop

e five house ticket is the best value givingyou entry to all of the properties (HarvardHouse is a current alternative to New Place)and allowing you to view Shakespearersquos Gravein Holy Trinity Church

The Avon and Boat trips A walk along the Avon is a must in any seasone gentle stroll from the RSC to Holy Trinity

Church will take you past drooping willowssmoothly sailing swans and green parklandFor a diff erent perspective on the town you cantake a boat trip along the river itself Startingfrom near the RSCeatre you cruise gentlydown to the church where Shakespeare wasbaptised and buried before turning back andheading past the theatre and under CloptonBridge Itrsquos a bridge that William himself would have known built as it was around1480 e Avon is very pretty everywhere

you look are the incredible tame (and alwayshungry) swans and picturesque houseboatse banks are lined with weeping willows that just might have been the inspiration for poorOpheliarsquos watery end in Hamlet If you wouldrather take a slower self-driven trip there arerowing boats canoes and small speedboatsfor hire Beware though these are not aseasy to control as they look and you may wellspend a good proportion of your allottedtime relearning how to row and avoiding

Stratford-upon-Avon

The birth roomat ShakespearersquosBirthplace

Molly fromShakespeare Aloudin the Birthplacegarden

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SHAKESPEARE magazine 21

other hapless river tra ffic Boat trips typicallylast for around 40 minutes and are especiallypleasant in the late afternoon when the sun setsslowly behind the church steeple For addedluxury you can take a restaurant cruise where

afternoon tea or an evening meal are served onboard or as a quicker cheaper alternative youcould take the chain ferry across the Avoneferry dates from 1937 and is the last of its kindin the UK

Nash House and New Place

As well as the Henley Street property theShakespeare Birthplace Trust care for fourother locations in and around Stratford allassociated with Williamrsquos family Nash House

and New Place were adjoining propertieseformer was the home of Judith Shakespeareand her husband while the latter was thefamily home that William purchased in 1597at the time the second most expensive housein the town Sadly it was demolished by asubsequent owner but the Trust are currentlyundertaking a massive renovation of the siteis means that the properties will not be opento the public until 2016 to coincide with the400th anniversary of Shakespearersquos death

Hallrsquos Croft

A brief walk from New Place will take youto Hallrsquos Croft the home of SusannahShakespeare and her husband the physician John Hallis is an interesting property in its

own right and is partly set up to show how apractising physician would have worked at thetime A special mention too must goe Arterthe award winning independent craft shopadjoining the building and to the beautifulgarden in which open air performances ofShakespearersquos plays are sometimes performed

Stratford-upon-Avon

Holy TrinityChurch viewedfrom the Avon

Nash House andNew Place

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22 SHAKESPEARE magazine

Anne Hathawayrsquos Cottage A short distance from Stratford is Shottery where you can find the beautiful cottage

which was the home of the Hathaway familySet in yet another lovely garden this is thehouse in which Anne Hathaway grew upand was courted by the young William JohnShakespeare served with Anne Hathawayrsquosfather on the town council so their childrenprobably knew each other from a young agee family remained associated with thecottage for several centuries and have spunmany a yarn about the young lovers theveracity of which are highly questionable

However the stone floor of the kitchen isoriginal and we know that William must have walked those stones many many times

Mary Ardenrsquos Farme last of the Shakespeare properties is Mary Ardenrsquos Farm Shakespearersquos mother lived hereand itrsquos where she probably took the infant William when plague broke out in Stratfordshortly after his birth Open from March toNovember only the farm is run as a working

Tudor farm with costumed guides caring forthe buildings and the animals Itrsquos a great placefor a family day out with plenty to see and doand numerous activities runningere are

daily falconry shows archery animals to feedand games to play You can even treat yourselfto a genuine Tudor meal in the cafe ndash pottageand home-baked breads are a speciality

What if you donrsquot have a care town itself is fairly small and all themain attractions are within walking distanceHowever the easiest way to get around and toenable a visit to Anne Hathawayrsquos Cottage andMary Ardenrsquos farm is to the Hop On-Hop Off City Sightseeing busis will take you to allthe main town locations and also to Shotteryand Wilmcote A day ticket will give youunlimited access to the buses and allow you tovisit all of the Shakespeare properties e buscan be picked up by the statue of Touchstonethe jester at the top end of Henley Street

Walking Tours Another excellent way to see the main sites ofStratford and to learn some of the historicaltales of the town is to take a walking tour

Stratford-upon-Avon

Anne HathawayrsquosCottage

Mary Ardenrsquos Farm

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ere are several options depending on thetype of tour yoursquod likee town guides runhistorical tours of the town every day (yesevery day) of the year For those who like to be

a bit more daring there are evening ghost walksled by costumed guides who will tell you someof the spooky tales of Stratford Both of thesetours start from the Swan Water Fountain onthe riverside

Or if you like the idea of being guidedby Shakespeare himself on a Saturday (andMonday to Saturday through the summerholidays) there are town walks led by the manhimself (or someone who looks an awful lotlike him)ese run from Tudor World onSheep Street an interesting museum in thehouse that belonged to the man who wasallegedly the model for Sir John Falsta ff

Holy Trinity Church Another must-see is the townrsquos 13th centurychurch with its distinctive spire that dominatesthe view from the river Remember that if youhave a ticket to the Birthplace properties yourvisit to the grave is free e church is famousfor being where William Shakespeare wasbaptised on 26 April 1564 e old font that

was used for the baptism is displayed in thechancel along with copies of both the registerof baptism for April 1564 and the register ofburials for April 1616 where Shakespearersquosname can be clearly seen Also in the chancelin front of the altar are the Shakespeare familygraves Williamrsquos bears its infamous curse

ldquoGOOD FRIEND FOR JESUSSAKE FOREBEAR

TO DIGG THE DVST

ENCLOSED HEREBLESTE BE YE MAN YT SPARESTHESE STONES

AND CURSED BE HE YT MOVESMY BONESrdquo

On the wall above the grave is the effigy of

Shakespeare Itrsquos one of the few images which was produced within the lifetime of AnneShakespeare and probably one of the mostauthentic likenesses of her husband

The Guildhall and King EdwardrsquosSchoolDirectly opposite the site of New Place standthe Guildhall and the townrsquos old grammarschool Both of these places have links to theShakespeare family King Edwardrsquos Schoolis where the young William is believed tohave studied and itrsquos probably where hefirst encountered the classical texts which soinspired him As the son of a town councillorhe would have been entitled to a placee

old school is sometimes open to visitors at weekends or during the holidays but theschool has just won a lottery grant whichshould enable them to open it as a permanentattraction e Guildhall was sometimes hostto groups of travelling players and so it couldbe the site where young William first sawtheatrical performances It is widely believedthat John Shakespeare owing to his role astown bailiff was responsible for supervising the whitewashing of the medieval Doom Painting

Stratford-upon-Avon

SHAKESPEARE magazine 23

The GuildhallDoom Painting

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24 SHAKESPEARE magazine

Stratford-upon-Avon

is has been recovered and is now once againvisible above the chancel arch

The Royal Shakespeare CompanyTheatre and the riversidee riverside park is home to several interestingsights It is from here that you can get a view ofthe Clopton Bridge pick up a river cruise feedthe swans and admire the Gower Memoriale memorial was presented to the town in1888 and features a statue of Shakespeareseated upon a plinth overlooking statues offour of his best known charactersese areHamlet Prince Hal Sir John Falsta ff and Lady

Macbeth who represent Comedy HistoryPhilosophy and Tragedy Closer to the theatreis the beautiful Swan Water Fountain unveiledin 1996 If you see the water frothing fear notit seems to be a sport amongst local youngstersto fill the fountain with washing up liquid on aregular basis

e Royal Shakespeare Companyeatre was built in 1932 but has recently undergonea complete refurbishment in both the mainand the Swan theatres e building reopened

in 2010 with both theatres having beenconverted to boast thrust stages and curvedgalleries similar in shape to the originalElizabethan playhousese world renowned

Royal Shakespeare Company performshere throughout the year staging plays byShakespeare and his contemporaries as well asby newer authors ey also run an educationprogramme exhibitions family activitiesduring the school holidays and theatre toursTo see Stratford from an entirely diff erentangle take the lift up the 36 metre high towerfor spectacular views across the town

Where to eat and drinkStratford has an excellent range of eateriesto suit all tastes and budgets ere is pubgrub afternoon teas world cuisine finedining pizza pasta and fish and chips Manyrestaurants off er pre-theatre menus and ifyoursquove been on a town walk you may find thatyou can get discount vouchers for your foodere are many pubs in Stratford including theGarrick Inn the oldest pub in the town whereyou can taste the Shakesbeer specially brewedto celebrate Shakespearersquos 450th Birthday in2014 If you want to spot RSC cast members

relaxing after their showse Dirty Duck on Waterside is the place to drink

Where to stay Again Stratford-upon-Avon has a good varietyof hotels bed and breakfasts and holidayhomes All the main chains have hotels inthe town from budget brands to the luxurynamesere is an excellent choice of bedand breakfast establishments in and aroundthe town again these will suit all tastes and

budgets Airbnb also has an interesting rangeof rooms flats and houses to rent in StratfordHowever be sure to book early especially forthe prime summer months

The Shakespeare Birthplace Trustwwwshakespeareorguk

The GowerMemorial Will andPrince Hal

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M

any places around the worldhave been named afterStratford-upon-Avon thebirthplace and home of William

Shakespeare And many of those Stratfordsare home to theatre festivals of varying sizesStratford in the state of Victoria in Australiahas an annual Shakespeare festival still goingevery year while Stratford in Connecticut inthe USA had a major theatre from the mid1950s to the mid 1980s Stratford Ontarioin Canada however stands out among thesetowns and festivals not merely in scope but ininternational reputation and prestige

In 1950 Canada had no home-growntradition of classical theatre Certainly

Shakespeare was performed but there hadbeen a strong anti-theatrical movement inCanada throughout the 19th century whoseeffects still lingered throughout the first half ofthe 20th As a cultural icon Shakespeare wasedifying to be sure but certainly not to beperformed The Stratford Festival changed allof that for Canada

In the late 1940s the local newspapers andgovernment of the town conceived of the ideaof revitalising Stratfordrsquos sagging economy by

capitalising on the name of the town and its

long association with the Bard They bandedtogether and under the leadership of TomPatterson they brought over Tyrone Guthrieand Alec Guinness for the first season in1953 Guthrie had famously directed Gielgud

inHamlet

at Elsinore Castle in Denmarkand had been the manager of the Old Vic inLondon He wanted to create an acting spacethat echoed the original Globe theatre whereactors were surrounded by the audience incontrast to the proscenium arch theatres thatdominated the London and New York scenes

From the first performance which tookplace inside a giant circus-style tent on thebanks of the Avon River the festival workedto create a new aesthetic of Shakespeareanperformance The thrust stage of the FestivalTheatre designed by Tanya Moiseiwitschhas been recognised as one of the greatinnovations in stage design of the 20th centuryGenerations of actors have had to learn howto address an audience on three sides of themsometimes only an armrsquos length away

The festival has been central to the careersof Canadian actors such as ChristopherPlummer Martha Henry and even WilliamShatner Actors from the US and UK havesought to play the festival as well including

Peter Ustinov Christopher Walken and JessicaTandy Indeed these international stars notonly lend credibility but have indelibly markedthe festival For instance Maggie Smithrsquosperformance as Rosalind in As You Like It inthe 1977 and 1978 seasons is legendary in thecompany and the town

Today the festival has expanded to includemultiple performance spaces a theatre schooluniversity accredited courses and the largesttheatrical costume shop in North America

It has started countless careers inspiredcompanies such as Torontorsquos SoulpepperTheatre and helped shape the Canadiantheatre landscape for over 50 years

Stratford Festival ndash Ontario Canada

wwwstratfordfestivalca

MEANWHILE

IN CANADATherersquos more than just one Stratford you knowAnd the one in Ontario Canada has a world-renownedShakespeare Festival gives us a tour

Stratford Ontario

SHAKESPEARE magazine 25

ldquoFrom the fi rst performancethe Festival worked tocreate a new aesthetic ofShakespearean performancerdquo

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Planning to performa short selection

from Shakespeare

The 30-Minute Shakespeare

Anthology contains 18 abridged

scenes including monologues from

18 of Shakespearersquos best-known plays

Every scene features interpretive stage

directions and detailed performance

and monologue notes all ldquoroad testedrdquo

at the Folger Shakespeare Libraryrsquos

annual Student Shakespeare Festival

THE 30-MINUTE SHAKESPEARE is an acclaimed series of abridgments that tell the story of each play while keeping the beauty ofShakespearersquos language intacte scenes and monologues in this anthology have been selected with both teachers and students inmind providing a complete toolkit for an unforgettable performance audition or competition

NICK NEWLIN has performed a comedy and variety act for international audiences for more than 30 years Since 1996 he hasconducted an annual teaching artist residency with the Folger Shakespeare Library in Washington DC

The 30-Minute Shakespeare series is available in print and ebook format at retailersand as downloadable PDFs from 30MinuteShakespearecom

The 30-Minute Shakespeare Anthology

includes one scene with monologue

from each of these plays

ldquoLays the groundwork for a truly fun and sometimes magical

experience guided by a sagacious knowledgeable and intuitive

educator Newlin is a staunch advocate for students learning

Shakespeare through performancerdquo mdashLibrary Journal

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Roaslind Lyons

28 SHAKESPEARE magazine

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For UK artist Rosalind Lyons the Bard is a

constant presence in her creative life She tells

us how Shakespeare inspired the haunting and

dreamlike works that adorn these pages

Words and paintings by Rosalind Lyons

Rosalind Lyons

SHAKESPEARE magazine 29

Left TheRoaring Boys

PAINTINGSHAKESPEARE

S hakespeare has long been at the heart ofmy work sometimes directly and obviouslyin the subjects and often in the titlesBut always Shakespearersquos words charactersand stories are there in my head when Iam painting ndash a perpetual conscious andunconscious presence

My style echoes that of the Renaissancepainters and Elizabethan portraits andthese influences combined with a life-long love of Shakespeare made my firstvisit to Shakespearersquos Globe pivotal Iexperienced a powerful sense of connectionand recognition Here suddenly ideasand themes with which I had been so longpreoccupied were brought to life

I subsequently gained access to theGlobe to draw and later spent some time

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as Artist in Residence thereat experienceprompted more in-depth exploration notonly of Shakespeare and painting but of therelationship between painting and theatreere are of course the strong visualconnections ndash both are spaces for spectacleand illusion But also compelling ideas oftransformation imagination storytelling andidentity And overall the theme of ambiguitye blurring of boundaries between realityand fiction male and female light andshadow past and present I am fascinated byhow we respond to history how we re-presentand re-imagine the past And the figures inmy paintings are imagined as belonging toboth now and then ndash flitting back and forthacross the threshold between past and presentbetween Shakespearersquos time and our own

modern worldI have painted some specific characters

from Shakespeare but many subjects ofmy paintings are anonymouse figuresare unknown their place purpose role is amysteryis anonymity is unsettlingereare clues in the setting in the costumes ndash orperhaps I should just say in the clothes theyare wearing ndash but the context is not obviousI am fascinated by the dramatic convention ofcross-dressing ndash and particularly the inherent

confusion as with Rosalind ( As You Like It )and Viola (Twelfth Night ) in the idea of aboy playing a girl playing a boy Many of thecharacters I invent are androgynous theirgender and age uncertainis ambiguityof identity interests me in the context ofvisual illusion and theatrical transformationthe idea of inbetween-ness and somethingunresolved

Like theatre my paintings are concerned with inventing characters and the creation

Right No MoreYielding But A

Dream

Roaslind Lyons

30 SHAKESPEARE magazine

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of an imaginary world and I am particularlyattracted to the fools fairies and witchesIn A Midsummer Nightrsquos Dream the fairiesrsquoactions may seem malevolent or benign or just mischievous but there is definitely a dark

side an underlying sense of threate Fool too is intriguing Shakespearersquosfools frequently describe themselvesor are referred to as a nobody but areunquestionably much moree fool is anoutsider concerned with but at the same timeseparate from the story He ndash or sometimesshe ndash doesnrsquot quite belong anywhere butseems to exist on the boundary between thefamiliar and the uncanny

I am attracted to the strange to mysteryand shadows and try to express through myimages a strong feeling that it could be thator maybe something else As Orsino says atthe conclusion of Twelfth Night ldquoA naturalperspective that is and is notrdquo While makinga painting and even when it is finished Idonrsquot know really who my characters are ndashthey remain elusive But I like not knowingand ultimately meanings always change anddepend on individual perceptions

My experience at the Globe led to aparticular fascination with the ambiguous and

protean quality of the theatrical performerhow their identity transforms and fluctuatesI was attracted by this when watching

Rosalind Lyons

SHAKESPEARE magazine 31

Above A MidwinterNightrsquos Dream

Right Three Fools

Far right FollowingDarkness

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rehearsals observing actors shift between selfand impersonation between diff erent realitiesand identities When they are not acting theyndash metaphorically and often literally ndash melt

into the shadows I am interested too in thephysical and symbolic threshold between lsquoonrsquoand lsquooff rsquo-stage the transformation inherentin an actor moving from the wings onto thestage assuming another self and anotheridentity Particularly evocative is the fact thatactors were colloquially known as shadowsin the Elizabethan playhouses ndash suggestingsomething unknowable and insubstantialIn the Prologue to Henry V Shakespeare hasthe Chorus describe the players as lsquociphersrsquoimplying deception and secrecy

Artists in the past who have tackledShakespeare have generally produced imagesthat directly illustrate the text or representfamous actors or scenes from a particularperformance Today as well as on the stageShakespearersquos plays are frequently re-imaginedin very successful film and TV adaptationsbut I have struggled to find more than ahandful of contemporary fine artists whohave engaged with Shakespeare on any levelPerhaps Shakespeare as a subject is seen

by some as too traditional too lsquopopularrsquoor simply just too lsquooldrsquo But in the theatreand in literature there is an ever-increasingenthusiasm for innovative interpretationsof the plays and for me Shakespeare is aconstant inspiration

e Prologue of Henry V also urges theaudience to ldquoPiece out our imperfections withyour thoughtsrdquo to liberate the imaginationand create another kind of reality to shapeour own fantasies within the ldquowooden Ordquo of

the theatre In my paintings I endeavour todo the same

Explore the work of Rosalind Lyons atwwwrosalindlyonscom

Above These Two CreaturesBelow Therersquos Magic In Thy Majesty

Roaslind Lyons

32 SHAKESPEARE magazine

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$amp( ) +-01

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Aidan OrsquoReilly

34 SHAKESPEARE magazine

Looking forRichard AidanOrsquoReilly is playingShakespearersquosbaddest monarch

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Aidan OrsquoReilly

SHAKESPEARE magazine 35

You are legally blind having been

diagnosed with retinoblastoma as an

infant How did this impact on your

acting aspirations and early career

ldquoMy parents did a good job raising me Inever grew up thinking of it as a handicap orthinking it could hold me back from what I wanted to do I couldnrsquot play sports at all soI think my parents were grateful that I hadsomething that I was passionate about from avery young age

ldquoI went to a public elementary school with a program designed for the blind so itfelt very natural for me to be the way that I was And acting has always been part of thatrdquo

You went to RADA in London Was

there a reason why you wanted to

train in England and not in the US

ldquoItrsquos always been an ambition of mine to

travel as far and wide as possible Also myhero growing up was Peter OrsquoToole ndash Iread his autobiography in high school andlearned he had gone to RADA and decided I wanted to go there too So I auditioned therenot knowing that RADA is arguably thebest drama school in the English-speaking world Consequently I was quite relaxed atthe audition which is probably why I gotin My ignorance can sometimes serve me well Going to RADA was a life-changing

Aidan OrsquoReilly is an actor with an

inspiring story Legally blind since he

was six months old he forged a passionfor drama at an early age Aidan went

on to gain a BA with honours from

Londonrsquos Royal Academy of Dramatic

Art before touring for three years with

the American Shakespeare Center

In 2012 Aidan was diagnosed with

sarcoma a rare cancer He bounced

back in 2014 after intensive treatment

and is now cancer-free We spoke to

Aidan as he prepared to play the title

role in Richard III for Californiarsquos Marin

Shakespeare Company We asked himto share his story and to give us his

take on one of Shakespearersquos most

fascinating characters

Interview by Jen Richardson

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Aidan OrsquoReilly

36 SHAKESPEARE magazine

experience I was lucky enough to havecontact with brilliant professors and Irsquom stillin awe of the students I went to school withI wouldnrsquot trade that experience for anythingrdquo After graduating from RADA you

went on the road with the American

Shakespeare Center Tell us a bit

about that

ldquoThat was one of the happiest times of mylife In many ways I got spoiled I was a working actor 11 months out of the yeartouring nationally seeing parts of the USI had never been to before doing plays Iloved and working with directors who werevehemently faithful and respectful to the text When I wasnrsquot on the road I was in residenceat the Blackfriars Playhouse in StauntonVirginia with many extraordinary actorsI was very lucky to be thererdquo

Three years ago you were diagnosed

with sarcoma How did you

overcome this enormous challenge

and return to the stage in 2014

ldquoThe only reason Irsquom still alive is because ofmy mother Lily and my wife Jocelynn AlsoI was fortunate that we caught it before it hadspread and it was on my leg and away fromany major organs

ldquoI am very grateful for my team of doctorsat UCSF who did an incredible job in mytreatment and follow-up care Irsquom glad to beback to workrdquo Yoursquore now due to play Richard III

with Marin Shakespeare Company

Howrsquos it going so far

ldquoAt this point Irsquom in the paperwork stage

of things A lot of reading the HenryVI s biographies of Richard as well asperformance history of the play itself Irsquomdoing a fair amount of limping around myapartment as well I canrsquot wait to get intorehearsals next weekrdquo Tell us about Marin Shakespeare

Company and what appealed to you

about working with them

ldquoRobert and Lesley [Currier MSCrsquos Artistic

Director and Managing Director] arefascinating people Their intelligence andhumour is contagious Without questionthere is a lot to be learned from themrdquo Richard IIIrsquos remains were discovered

in 2012 and reburied this year Is all

the new information about Richard

influencing your portrayal

ldquoYes and no My job isnrsquot to play the historicalRichard but the Richard that Shakespeare has

Aidan believesthat Richard IIIrsquosobsession withcontrol is whatcauses his downfall

ldquoPeter OrsquoToole wasmy hero He went to

RADA so I wanted to go there toordquo

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Crowning gloryAidan with MarinShakespearersquosRobert Currier

created Itrsquos helpful to know the facts of thesituation in order to gain insight into whathas been changed in Shakespearersquos versionof events

ldquoI met with a friend of mine who is a

retired surgeon who walked me through themedical information that has come to lighton Richardrsquos body and I will certainly usethat to inform my physical choicesrdquo Unlike many actors yoursquore the right

age to play the historical Richard III

Do you feel Richardrsquos relative youth

has been overlooked

ldquoI do Richard is a young man who believeshe is hardened by the experiences he andhis family endured during the War of theRoses and believes himself to be beyondhuman emotions and the lsquorestrictionsrsquo of aconscience He isnrsquot He pays the bill for thehorrible things he does That lack of self-knowledge is not exclusive to youth but I feelit makes him more sympathetic and relatableto an audiencerdquo Some people think Richard III shows

Shakespeare delivering a highly

effective piece of Tudor propaganda

Where do you stand on thatldquoI think Shakespeare has a soft spot foroutsiders and underdogs Although his playssometimes work within the confines of thebiases of Elizabethan society he canrsquot help butmake his lsquovillainsrsquo fascinating human beings

For as horrible as Richard is itrsquos amazing tosee how audiences relate and respond to himrdquo Which other important themes do

you feel Shakespeare deals with in

the playldquoThe history plays are full of extraordinarypeople who waste their lives and intelligence who sacrifice their humanity in pursuit of thecrown Itrsquos still happening today What is theattraction of power Richard never pauses tothink of why he wants the crown or if hersquodbe any good as king Turns out hersquos not butitrsquos this bizarre obsession with control thatpropels him to kill everyone off thatrsquos in his way Itrsquos also fascinating that the one characterthat is consistently kind to Richard is hisfather York

ldquoI think an argument can be made thatRichard in his warped way is trying to liveup to the image he has of his father Ofcourse York is dead and gone by the timeRichard III begins but you can glean a lotabout Richardrsquos inner workings in the way hespeaks about his father Of course itrsquos foolishto try to answer questions that Shakespearedoesnrsquot and Irsquom not trying to say this solvesa mystery but I think itrsquos interesting Itrsquos only

an element itrsquos not the answerrdquo Richard III is listed as a historical

play in the First Folio but in the

quarto edition it is termed a tragedy

Which category would you put the

play in and why

ldquoI think of the history plays from Richard II to Richard III as one vast play an epic thatencompasses all the categories I think if youlook at Richardrsquos progression through those

plays you see a great mind warped by the War of the Roses and that certainly adds tothe tragic element I think of Richard III asthe final chapter of a great epicrdquo

Aidan OrsquoReilly stars in Marin ShakespeareCompanyrsquos Richard III from 4-27 September

Aidan OrsquoReilly

SHAKESPEARE magazine 37

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Scotland Shakes

SHAKESPEARE magazine 39

Bonnie Prince

Brian Fergusonas Hamlet in theCitizens Theatre

production Photoby Tim Morozzo

Billy William Shakespeare is undoubtedly Englandrsquos

Bard But how is he viewed north of the border

Our Caledonian correspondent surveys the state

of Shakespeare in Scotland and meets esteemed

outdoor theatre company Bard in the Botanics

Words Paul F Cockburn

T owards the end of May thisyear a BBC Scotland afternoon

news bulletin surprisinglyturned its attention to aforthcoming production of

ldquoone of William Shakespearersquos best lovedplaysrdquo ndash A Midsummer Nightrsquos DreamHowever this particular production wasnrsquotconsidered newsworthy because it came froman amateur group based in Dumfries andGalloway Not even that the CrossmichaelDrama Club were one of just seven amateurScottish groups taking part in the Royal

Shakespeare Companyrsquos Open Stages project which aims to help amateur companies

extend their repertoiresNo the lsquohookrsquo was how this newproduction was Shakespeare ldquobut no asyou micht ken itrdquo Because it had beenreimagined in Scots as A MidsimmerNichtrsquos Dreme

As it happens writer John Burns saysthat his principle reason for translating AMidsimmer Nichtrsquos Dreme was simply theintuition that it being in Scots would workto the benefit of the production ldquoItrsquos not

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Scotland Shakes

40 SHAKESPEARE magazine

so much that 16th century English canrsquot docertain things more that using Scots brings itcloser to a Scottish audience and to audiences who might think Shakespeare too fancyrdquo hesays ldquoI feel too that Scots can catch the sheerphysical power of Shakespearersquos language He writes lines you really feel physically when

you say them out loud My intention was touse Scots to produce a text that was actableand which would be accessible and enjoyablefor the audience and the Scots was a majorpart of thatrdquo

Arguably translating Shakespeare intoScots ndash viewed by many as a distinct languagefrom English ndash is just one way of finding thecontinued relevancies of Shakespearersquos writing with the here and now Certainly John Burns was keen to see if Scots ldquocould match the way

Shakespeare switches tonehellip from broad attimes bawdy humour to moments that aremore serious or even sinisterrdquo

Yet there is a wider perspective whether wersquore discussing translation into Scots orsaying Shakespearersquos words with a Scottishaccent Willy Maley and Andrew Murphyin their introduction to Shakespeare andScotland (published by Manchester UniversityPress in 2004) go as far as describing thetranslation of Shakespearersquos Macbeth into

Scots as ldquoa patriotic actrdquo not least becauseof ldquothe political commitment implicit intranslating from English to Scots reversing

the dominant dubbing practice infi

lmsrdquoGlasgow-based novelist and playwright Alan Bissett ndash who actively campaigned fora Yes vote during last yearrsquos IndependenceReferendum ndash has since written about howsince the 1970s Scottish theatre had ldquoadeep engagement with the shifting beastof Scottish politicsrdquo Although Bissett wasfocusing primarily on original works byScottish playwrights and directors itrsquos worthpointing out that Shakespeare ndash despite therebeing absolutely no evidence to prove he evertravelled north of Carlisle ndash has played hisown part in this

As Maley and Murphy point outldquoScotlandhellip never had precisely the samerelationship with the Bard as England hasbut has experienced a fraught process ofappropriation incorporation and resistancerdquoIn part this is because Shakespeare ndash in hislatter career ndash was among the first lsquoBritishrsquo writers Many of his later plays ndash Cymbeline King Lear even Hamlet ndash were produced

A tartan-cladAntipholus andDromio in Bard inthe Botanicsrsquo TheComedy of Errors

Brian FergusonrsquosHamlet CitizensTheatre productionPhoto by TimMorozzo

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under the patronage of Scotlandrsquos King JamesVI (aka James I of England) Each in theirown way can be said to touch on ldquothe matterof Britainrdquo the complex relationship between

the constituent elements of Jamesrsquos newlsquounitedrsquo kingdom which the Stuart monarch was determined to see joined into oneat never quite happened of course

Even after the 1707 Act of UnionScotland retained its own legal educationaland religious systems along with anaccompanying sense of Scottish identity ndash which survived even the height of the Britishempire Yet from the 1970s on there havebeen notable changes in how Shakespeareis treated by Scotlandrsquos producing theatrecompanies Several years ago GlasgowrsquosCitizenseatre delivered a powerful Romeoand Juliet in part because of their decision toset the action in a present-day sectarian Westof Scotland ndash with accents to match

ldquoEnglish-accented Shakespeare carriesa specific resonance in Scotland one thatdirectors usually choose to avoidrdquo pointsout Mark Fisher a freelance journalist criticand author of the forthcoming book How toWrite Abouteatre

ldquoIrsquom not sure exactly when attitudesstarted to change but Irsquod say the argumentin favour of Scottish-accented productionshad been pretty much won by the 1990sBy that time companies such as Raindogand directors such as Hamish Glen hadbeen making a point of casting very Scottishproductions of Shakespearerdquo

One example of how things hadprogressed even by 1992 was the late KennyIrelandrsquos production of A Midsummer

Nightrsquos Dream his first as Artistic Directorat Edinburghrsquos Royal Lyceum ldquoHe castthe mechanicals with Scottish accents andeveryone else with English accentsrdquo MarkFisher explains ldquois I said in my review wasa fundamental error ndash or some such phrasee message it sent out was that people withScottish accents were foolish figures of fun whereas people with English accents wereserious figures of respect

ldquoIreland reacted furiously to my review

and made the case that he had based thecasting of the mechanicals around (the actor) Andy Gray who has a Scottish accent Inother words the meaning I inferred hadnot been deliberate I think itrsquos true to sayhowever that Ireland never cast a Shakespearelike that againrdquo

Gordon Barr is Artistic Director of

Glasgow-based Bard in the BotanicsScotlandrsquos only professional Shakespearecompany (see following pages)

ldquoWersquove never gone out of our way tomake Scottish versions of these texts norhave we gone out of our way to have classicaltraditional voicesrdquo he says ldquoMost of our coreactors have made their careers up here so wethink of them as Scottish actors

ldquoat is important to us to not overlylook outwards for the acting company As

much as possible we work with people who are based in Scotland Wersquore regularlyproducing Shakespeare here and we want tobe a part of the training to ensure that there isa range of strong classical actors hererdquo

Citizens Theatrewwwcitzcouk

Owen Whitehawas the Fool andDavid Hayman asLear in CitizensTheatrersquos King Lear Photo by TimMorozzo

Scotland Shakes

SHAKESPEARE magazine 41

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Bard in theBotanicsrsquo As You Like

It takes Rosalind andOrlando into theopen air

ldquoTouring is something that we have wanted to do foryears but was somethingthat we could not afford

to do without fundingrdquo says Gordon Barr Artistic Director of Scotlandrsquos only professionaloutdoor Shakespeare festival Bard in theBotanics If therersquos any irony attached tothe companyrsquos first major tour of Scotland which took place in early 2015 itrsquos that theperformances of their acclaimed Romeo and Juliet ndash featuring a cast of five ndash were playedexclusively indoors

ldquoNobody is touring classical theatre in

Scotland at the minute so itrsquos importantto usrdquo Barr adds ldquoOur work is so muchabout accessibility One of the joys of beingoutdoors is that people come to see the work who wouldnrsquot buy a ticket for a theatre Ifyou can bring a picnic sit out on the grass while watching the show it feels easier moreaccessible But people canrsquot come from Thursoto Glasgow for a night just to see a productionof Shakespeare They should be able to see itin Thurso So that is kind of where the urge totour came fromrdquo

Bard in the Botanics has presented outdoorShakespeare within the grounds of GlasgowrsquosBotanic Gardens since 2003 This yearrsquoslsquoUnlikely Wondersrsquo season presented newproductions of Loversquos Labourrsquos Lost The Merchant of Venice Richard II and A Midsummer Nightrsquos Dream in lsquoreprsquo between24 June and 1 August

The companyrsquos founder Scott PalmerBarr explains had done a lot of his training atthe Oregon Shakespeare Festival one of the

biggest in North America ldquoWith the kindof drive and enthusiasm that only Americanshave he managed to convince the entire cityof Glasgow that outdoor Shakespeare would work and that the weather wasnrsquot going to be

a problemrdquoTwo years later Palmer moved on and Barr

ndash originally involved as a director ndash succeededhim as Artistic Director ldquoIf anyone then hadsaid that I would end up spending 12 yearsrunning an outdoor Shakespeare festival I wouldnrsquot have believed themrdquo he says in hisoffice hidden behind some of the Botanicsrsquogardening sheds ldquoI very quickly fell in love with it once I started working here Despiteall the trials and tribulations that outdoortheatre in Scotland brings with it therersquos just

something magical and special about it Itrsquos a very close-knit company and thatrsquos sort of keptus all here as long as we have beenrdquo

While the annual summer season ofShakespeare plays in the Botanics will remainat the centre of what the company does ndashldquoOtherwise Bard in the Botanics becomesa rather strange namerdquo ndash Barr is very much

Outof theGarden

This year has seen Glasgowrsquos Bard in the Botanicsdo something completely unexpected They wentout on a tour of ndash whisper it ndash indoor venueshellip

Scotland Shakes

42 SHAKESPEARE magazine

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Scotland Shakes

SHAKESPEARE magazine 43

focused on building on the touring side ldquoBecause it was our first ever tour we

did end up taking Romeo and Juliet to theestablished Scottish touring circuitrdquo he addsldquoIt takes a while to build up relationships with the smaller venues thatrsquos going to bean ongoing process for us Even so we weretaking Romeo and Juliet to places like Mulland Stranraer ndash communities and venues thathavenrsquot had a lot of classical theatre comingthrough themrdquo

The choice of play was deliberate too ldquoIt was a production that was ready to go whichhad received five star reviews and sold out itsextended run in the Botanics in 2012 So weknew that the work was good but therersquos nodoubt that for a first tour we wanted to makeit easier for the venues to sell it Most venuesknow they can find an audience for Romeo and Juliet rdquo

In time he hopes that audiences aroundthe rest of Scotland will come to trust the Bardin the Botanics name sufficiently to take on theless familiar plays

ldquoYou just donrsquot know how quickly acommunity is going to turn out for Henry IV yetrdquo he says ldquoHopefully three or four toursdown the line theyrsquore going to turn out forBard in the Botanics ndash and if it happens to be

Henry IV well thatrsquos greatrdquoGiven their reimagining of A MidsummerNightrsquos Dream as a 1920s burlesque musicalis there a particular Bard in the Botanicsapproach to Shakespeare

ldquoOur kind of unofficial motto is lsquoBe BoldBe Braversquordquo Barr says ldquoIf wersquore continuingto stage these plays around 400 years afterShakespearersquos death I think therersquos an urgencyto ask lsquoWhyrsquo It is important to questionlsquoWhat is the story that we want to tellrsquo I wantto see how these plays intersect with historyand todayrsquos society not to present museumpieces

ldquoItrsquos always with an eye to try to releasesomething thatrsquos within the textrdquo Barrinsists ldquoWersquore not remotely interested ininnovation for innovationrsquos sake The playsare masterpieces thatrsquos essentially why wersquorestill doing them 400 years later But to revealsomething thatrsquos unexpected or new thatrsquosimportant to usrdquo

Bard in the Botanics

wwwbardinthebotanicscouk

Rosalind and Audreyin the forest Bardin the Botanicsrsquo As You Like It

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Shakespeare at the Tobacco Factory stf 2016 Seasonco-production with Tobacco Factory Theatres

HAMLETBy William Shakespeare

Directed by Andrew Hilton

Main run Thu 11 February ndash Sat 26 March 2016

In repertoire with Allrsquos Well That Ends WellMon 25 ndash Wed 27 April Sat 30 April 2016

The most famous play in world drama Hamlet

turns a new face to every decade So many

elements - political madness sex murder ndash all

brought together in a drama that is both a thriller

and the profoundest meditation on our human

condition

ldquoThrilling workrdquo The Guardian on Romeo amp Juliet

ldquoBullseyerdquo WhatsOnStage on Romeo amp Juliet

Shakespeare at the Tobacco Factory Friends Priority Booking opens Wed 23 September 10am

wwwstf-theatreorguk

Tobacco Factory Theatres Members Priority Booking opens Wed 16 September 10am

wwwtobaccofactorytheatrescom

Public Booking opens Wed 30 September 10am

Tobacco Factory Box Office 0117 902 0344

ALLrsquoS WELL THAT ENDS WELLBy William Shakespeare

Directed by Andrew Hilton

Main run Thu 31 March ndash Sat 23 April 2016

In repertoire with Hamlet

Thu 28 ndash Fri 29 April Sat 30 April

A young woman using skills bequeathed herby her father saves the French Kingrsquos life and

is rewarded with the right to choose her own

husband But what if the chosen one wonrsquot play

the game How can she get him into bed How

can she make him love her

ldquo There is something approaching real

magic hererdquo The Arts Desk on The School for Scandal

P h o t o s M

a r k D o u e t

Dorothea MyerBennett in Richard III

Benjamin Whitrowand Julia Hills in The

School For Scandal

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Having conquered

Hollywood and vanquished

the global entertainment

industry video games now

on our culture So where

does the Bard stand in all of

this We sent a Shakespeare

scholar to investigatehellip

Words Andrew Bretz

Shakespeare video games

46 SHAKESPEARE magazine

T eGamersquos A oot Silent Hill is one

big-name gamewhich includesShakespearereferences

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Shakespeare video games

SHAKESPEARE magazine 47

German cardboard Macbeth datingfrom the early1800s

Hamlet reimaginedRyan Northrsquos To Be

Or Not To Be

W

hen you walk intothe wood panelled Victorian Gothicismof the Gail Kern Paster

Reading Room at theFolger Shakespeare Library in WashingtonDC video games are probably the lastthing on your mind Buried deep withinthe archives however are a set of fragilecardboard figures printed in Germany in theearly 1800s representing each of the maincharacters of Macbeth

Nineteenth century German children would play with these figures on smallcardboard stages no bigger than a dollhouseey could replicate the story as it was toldin Shakespeare or use their imagination tochange the ending letting Lady Macbethsurvive and bringing Duncan back from thedead if they so chosee limits of the game were the limits of their imagination

Today the lsquogamificationrsquo of Shakespeareis a big business from Ryan Northrsquos choose-your-own-adventure edition of Hamlet To Be Or Not To Be to IDW Gamesrsquosupcoming Kill Shakespeare board gamebased on the comic of the same name

Gamifying Shakespeare is filtering intoschools libraries and the theatrical worldas well with the University of California atDavis the Stratford Festival in Ontario theGlobeeatre in London and the LondonMetropolitan Archives all experimenting with video game elements in exhibits productionsand research

Why video games In a sense this is thelogical next step in the media development ofShakespeare Hersquos everywhere in other media

books movies merchandise But videogamese answer for that depends on whoyou ask

StorytellingOccasionally individuals or publishinghouses develop video games that try to tellthe story of say Hamlet yet this is relativelyrare One example would be Elsinore a time-looping narrative adventure game set in the world of the play Players play the game as

Ophelia who wakes up knowing that in fourdays the entire court will be dead and shemust do something to stop ite problemis that she is stuck in a time loop reliving thesame four days over and over againat said Shakespearersquos presence in the

video game industry tends to be focused oncitation rather than adaptation of the playsat is video games for Xbox Playstationand other popular gaming systems often

just cite Shakespearersquos plays as a part of acommon cultural heritageese games donrsquotrestage say Hamlet but they quote the playIn these cases Shakespeare is used to establisha point of identification for the audience His writing tells the audience something aboutthe character or the situation

Given that audiences are supposedto be able to identify the quotations asShakespearean it is unsurprising that Hamlet is the most popular text for game designers to

cite Ine Elder Scrolls Online for instancea merchant NPC (non-player character)quotes Polonius when players interact sayingldquoNeither a borrower nor a lender berdquoe words establish the NPCrsquos role as a merchant while fitting the medieval world of thegame In the game LA Noire upon pickingup a fake shrunken head at a crime scene adetective leaps into high melodrama withldquoAlas poor Yorick I knew him Horatiordquoequotation and the clever voice acting establish

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Shakespeare video games

48 SHAKESPEARE magazine

the characterrsquos strait-laced yet macabre senseof humour

Sometimes citing Shakespeare is a partof a critique of a larger theme In the game Mass E ff ect the Elcor are a race of elephantinealiens who preface all statements with adescription of the emotion they are feelingand who speak in a slow monotonous drone As players interact with the expansive worldthey can discover a number of advertisementsfor an all-Elcor Hamlet e idea of theElcor actor ndash the ultimate in a flat woodenperformer ndash having to preface ldquoTo be or not

to berdquo with ldquomorose ruminationrdquo goes beyondthe simple humour of a bad Shakespeareperformance It subtly asks what it is aboutacting (and especially voice acting) that isvaluable

Shakespeare can appear in video gamesnot merely as a marker or contextualisationtool but as a part of a puzzle For example inthe game Silent Hill 3 players must arrange aset of Shakespeare anthologies on a bookshelfin an abandoned shopping mall in order to

proceed in the game At the hardest levelthe puzzle clue takes the form of a poemthat references all the major tragedies Romeoand Juliet King Lear Macbeth Othello andof course Hamlet e bloody nature of thetragedies fits with the bloody nature of theSilent Hill series of games which fall into thesurvival horror genre

Popular video games have also servedas the inspiration for games that engage with Shakespeare in a more direct way For

example Daniel Fischlin at the Universityof Guelph in Ontario Canada led a teamthat created a Flash game called rsquoSpeare Itrsquos

a scrolling arcade-style game suggesting thersquo80s hit Galaga which sees players identifyingand navigating through a series of enemies who turn into words upon being destroyede player progresses through the levelsby collecting the correct words to createShakespearean quotes learning Shakespeareantrivia along the way

ImmersionOne of the most exciting aspects of videogames is the ability to immerse the player inthe world of the game in a way that othermedia simply cannot do Being able to walkaround Prosperorsquos cell Julietrsquos balcony orto stand before the ghost of Hamletrsquos fatheras he cries out ldquoList list O listrdquo ndash theseexperiences are made possible through videogame technology

Students of Scenic Arts at the Universityof Hildesheim in Germany created Projekt ARIEL or SturmMOD in 2008 using a lsquomodrsquo(or modification) to the engine that runs

the game Far Cry 1 e performance artproject allowed users to experience Prosperorsquosisland interacting with certain parts andexploring others Players could walk aroundan imaginative rendition of Prosperorsquos cell and witness or interact with elements of the playincluding diff erent characters like CalibanProspero and Miranda

Four days to savethe Danish court

Elsinore

Another Hamlet reference this timein LA Noire

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Shakespeare video games

SHAKESPEARE magazine 49

Gina Bloom at the University of Californiaat Davis is presently spearheading a projectthat will be demonstrated in the lobby of theStratford Festival theatre in Ontario Canadathis summere project Play the Knave AShakespeare Performance Videogame lets usersdesign a virtual performance space and thenperform a scene from a Shakespeare playinhabiting this constructed space with anavatar As a Davis insider explains ldquoWe use akinect motion capture camera to capture theuserrsquos skeletal data so that players use theirentire bodies to control their avatarrsquos gesturesonscreen all the while reciting the lines from

Shakespearersquos scenerdquo is literally immersesthe players in the scene

Shakespearersquos Globe eatre in Londontook another tactic regarding immersionin the production of the game HemmingsrsquoPlay Company Hosted on the Playgroundportion of the Globersquos website and thusaimed at an audience of children the gamehas players taking on the role of Hemmingsan Elizabethan bear who leads a troupe oftheatrical animals such as Kit the Cat Dekker

the Dog and Slye the Foxe turn-based game leads players through

the vagaries of Elizabethan theatre practicefrom patronage to lost props and the plagueBy the end of the game players must earnenough money to rebuild the Globe after itburns down during a performance of HenryVIII

Also from Shakespearersquos Globe are twoinnovative video experiences created forchildren aged five to 11 e first Exploring

Shakespeare features two boys on a tour ofthe Globe theatre who sneak off to explorebackstage e video illustrates four plays

using short animations that are keyedto things the boys find backstage etechnology combines live action film andanimation to create an interactive touchablegame Filled with mini-games quizzes andinteresting facts about Shakespeare the gameallows players to click through the narrativeor to stop and learn more as they go along

e second video called Staging It usesthe same technology as the first film but thistime is for the 11-16 age group In this gamee Globe has filmed two actors performingfamous duologues from A MidsummerNightrsquos Dream and Macbeth on the Globestage Rather than shoot it once the actorshave performed their lines in diff erent ways(happy flirtatious defensive and so on)creating several diff erent clips per linePlayers can watch each of the clips and addtheir choice to a dynamic storyboard tobuild up their final scene Impressively theplatform allows for up to 1000000 diff erentcombinations of clips

Apps and Mini-GamesItrsquos when you start to look outside of therealm of popular video game platformslike Xbox or Playstation that Shakespeare

Silent Hill 3 Brush upyour Shakespeare ifyou want to survive

Hemmingsrsquo PlayCompany fromShakespearersquosGlobe

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Shakespeare video games

50 SHAKESPEARE magazine

really starts to pop up wherever you looke ubiquity of Shakespeare is especiallynoticeable when you start to look at apps andmini-games designed for phones and tablets

In 2012 Big Fish Games released aniPhone and iPad game called Hamlet that featured all the main characters ofShakespearersquos play but transposed them intoa save-the-princess narrative puzzle game A time traveller lands in Denmark andaccidentally kills Hamlet and so players mustcomplete his journey for him saving Opheliaand killing Claudiuse Shakespeareancontent is minimal and heavily adapted andyet it fits with the puzzle format in whichShakespeare tends to be found in videogamese Chronicles of Shakespeare Romeo amp

Juliet ande Chronicles of Shakespeare A Midsummer Nightrsquos Dream are lusciously-illustrated puzzle games for the PC In themplayers act as one of the characters from theplays gathering items and clues through aShakespearean environment

Among the literally thousands of appsrelated to Shakespeare that can be found forthe iPad or Android tablet are

e Shakespearean Insult Creator which generates invectives drawn from a wholly Shakespearean vocabulary So nexttime you want to call someone a jerk trysomething more like ldquoou fusty follyfallenfustilarianrdquo

e Shakespeare Translator whichtranslates ldquonormal English words and phrasesinto the words of Shakespeare himselfrdquo

e Shakespeare Fortune Cookie which provides short quotes from the plays

and a small trivia game Shakespeare or Die a game that

scrambles the words of famous quotationsfrom the plays and asks you to identify theplay and character who spoke the line If youmake a mistake however beware the witchesese apps are either explicitly games or

they are coming out of a game-like impulse tomake Shakespeare more accessible to everyone with an internet connection

Brave New WorldsIn a world where Shakespeare is an industrycounted in the millions of dollars per yearit is so easy to forget that Shakespearersquos playsare just that ndash playsere is a sense of joyand fun and happiness embedded in theexperience of watching them Games are oneof the ways that people over the centuries

have tried to recapture that elusive sense ofplayfulness within Shakespeare So it makesperfect sense that now with the advent ofdigital technologies Shakespeare is movinginto the digital world with a vengeance

From big studio games likee ElderScrolls to small apps that can be downloadedfor free from talking bears to immersiveperformance experiences Shakespeare iseverywhere in video games Rather than beingan undiscovered country into which the Bard

is only just beginning to emerge games havein fact engaged with Shakespeare and his works for hundreds of years And they willprobably continue to do so for hundreds ofyears to come

rsquoSpeare is a scrollingarcade-stylegame with addedShakespeare trivia

Hamlet is aShakespeare-themed puzzle fromBig Fish Games

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Meet thy makers

Helen Mears fell into bardolatryduring her teenage years and has

never recovered She is a volunteersteward at Shakespearersquos Globe

which ensures a regular diet of theBard She teaches English Film andMedia at Suffolk New College and isa specialist in teaching Shakespeareusing active methods Her favouriteShakespearean actor is Jamie Parker

and her favourite plays are the SecondHistory Tetralogy She hopes to

finish her Masters in the AdvancedTeaching of Shakespeare very soonFind her on Twitter hipster_hels

Paul F Cockburn is an Edinburgh-based freelance magazine journalist who specialises in writing about

arts and culture equality issues andpopular science Hersquos sufficiently

grey-haired for his English Literaturetraining to have sort of overlapped

with The BBC Television Shakespeareproject saving at least some of the

plays from death by academiaFind him on Twitter paulfcockburn

Jen Richardson first fell in love withShakespeare as a 15-year-old schoolgirl

ldquoHe got under my skin and hersquos still theretodayrdquo After training with a Manchester-based drama tutor she went on to pursuean acting career Drama remains a greatinterest but her focus is now on sharing

her passion for Shakespeare throughher writing In her spare time Jen is

generally down in Stratford-upon-Avonsitting on her favourite bench behind

Holy Trinity ChurchFind her on Twitter The_JenJen

Andrew Bretz is a sessional instructorof English Literature and Drama

specialising in early modern dramaHe has taught at Wilfrid LaurierUniversity the University of Guelph

Brock University and McMasterUniversity For the past two years he

has taught a special summer intensiveat Ontariorsquos Stratford Festival His PhDdissertation was on the representationof sexual violence on the early modern

stage Find him on TwitterAndrewBretz001

Just some of the contributors to this issue of Shakespeare Magazine

Rosalind Lyons is a painter whohas exhibited widely in both mixedand solo shows with work in UK

and international private collections A life-long love of Shakespeare isreflected in many of her paintings

and a particular recent focus isShakespearersquos Globe theatre where shespent a period as artist-in-residenceShe is currently studying for a PhD

in Painting and ShakespeareanTheatre at Anglia Ruskin University

in CambridgeFind her on Twitter roslyons

52 SHAKESPEARE magazine

Contributors

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Page 11: Shakespeare Magazine 08

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G A L L E R Yamp R E V I E WFor a generation of Cumberbatch fans lsquoBenedict at the Barbicanrsquo is the

most sensational and controversial Shakespeare production of a lifetime

Images Johan Persson Words Liz Barrett

Hamlet

ldquoTo be or not to be ndashthat is the questionrdquo[III 1] Controversially the playrsquos most iconicspeech was moved to the beginningAs we went to press however thisdecision had apparently been reversed

Benedict Cumberbatch

SHAKESPEARE magazine 11

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Benedict Cumberbatch

12 SHAKESPEARE magazine

ldquoA villain kills my father and for thatI his sole son do thissame villain sendTo heavenrdquo [III 3]

ldquorsquoTis in mymemory lockrsquod And you yourself

shall keep the key of itrdquo[I 3] Ophelia (Siacircn Brooke)

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Benedict Cumberbatch

SHAKESPEARE magazine 13

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Benedict Cumberbatch

16 SHAKESPEARE magazine

ldquoAnd yet to me whatis this quintessence

of dustrdquo [II 2]

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Even more than London there

is one place above all that is

green and pleasant landhellip

Words Helen Mears

Pictures Helen Mears and Susan Braund

Stratford-upon-Avon

SHAKESPEARE magazine 19

W e could be in any smallpicturesque Englishtown with its medievalchurch half-timberedTudor buildings shops

restaurants and delightful riverside walksBut Stratford-upon-Avon is not just any

town Itrsquos one of the best-known most- visited and probably most-loved locations inEngland Thatrsquos because itrsquos the birthplace of William Shakespeare Itrsquos also the place heseems to have considered his home After allShakespeare grew up there went to schoolthere and spent his final days there

So here is Shakespeare Magazinersquos on-the-ground guide to Stratford-upon-Avon Hereyoursquoll find hints and tips for first-time visitorsand returning aficionados alike What to see

the best ways to see it where to stay where toeat and how to get around while yoursquore there Are you ready Then letrsquos start our tourhellip

The BirthplaceSurely the must-visit spot for any self-respecting Bardolator this is where it all beganndash the six-roomed Merchantrsquos House on HenleyStreet where in April 1564 Mary Shakespeare wife of glover John gave birth to their famousson Williame house is approached

HOME

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20 SHAKESPEARE magazine

through the Shakespeare Centre on the left-hand side of the Birthplace A short exhibitionshows you items such as a prized First Folioand the foot of Stratfordrsquos Old Market Cross

from where glover John Shakespeare wouldhave sold his wares A walk through the gardens leads to

the house itself You enter through theself-contained annexe where William and Anne Shakespeare spent the first years oftheir married life and where their childrenSusannah Judith and Hamnet were born eannexe was later occupied by Williamrsquos sister Joan You can walk through the parlour andthe dining room to Johnrsquos workshop where heproduced gloves and other leather goods

A staircase leads to two bedrooms onefor the girls one for the boys and a loft spaceis visible where the apprentices would haveslept Finally you reach the birth room themain bedroom in which William and his sevensiblings were born

Guides are on-hand in all rooms to tell youtheir history and other gems of informationComplete your visit by watching classicShakespearean speeches performed in thegarden by resident acting troupe Shakespeare

Aloud and then picking up some souvenirs inthe gift shop and excellent bookshop

e five house ticket is the best value givingyou entry to all of the properties (HarvardHouse is a current alternative to New Place)and allowing you to view Shakespearersquos Gravein Holy Trinity Church

The Avon and Boat trips A walk along the Avon is a must in any seasone gentle stroll from the RSC to Holy Trinity

Church will take you past drooping willowssmoothly sailing swans and green parklandFor a diff erent perspective on the town you cantake a boat trip along the river itself Startingfrom near the RSCeatre you cruise gentlydown to the church where Shakespeare wasbaptised and buried before turning back andheading past the theatre and under CloptonBridge Itrsquos a bridge that William himself would have known built as it was around1480 e Avon is very pretty everywhere

you look are the incredible tame (and alwayshungry) swans and picturesque houseboatse banks are lined with weeping willows that just might have been the inspiration for poorOpheliarsquos watery end in Hamlet If you wouldrather take a slower self-driven trip there arerowing boats canoes and small speedboatsfor hire Beware though these are not aseasy to control as they look and you may wellspend a good proportion of your allottedtime relearning how to row and avoiding

Stratford-upon-Avon

The birth roomat ShakespearersquosBirthplace

Molly fromShakespeare Aloudin the Birthplacegarden

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SHAKESPEARE magazine 21

other hapless river tra ffic Boat trips typicallylast for around 40 minutes and are especiallypleasant in the late afternoon when the sun setsslowly behind the church steeple For addedluxury you can take a restaurant cruise where

afternoon tea or an evening meal are served onboard or as a quicker cheaper alternative youcould take the chain ferry across the Avoneferry dates from 1937 and is the last of its kindin the UK

Nash House and New Place

As well as the Henley Street property theShakespeare Birthplace Trust care for fourother locations in and around Stratford allassociated with Williamrsquos family Nash House

and New Place were adjoining propertieseformer was the home of Judith Shakespeareand her husband while the latter was thefamily home that William purchased in 1597at the time the second most expensive housein the town Sadly it was demolished by asubsequent owner but the Trust are currentlyundertaking a massive renovation of the siteis means that the properties will not be opento the public until 2016 to coincide with the400th anniversary of Shakespearersquos death

Hallrsquos Croft

A brief walk from New Place will take youto Hallrsquos Croft the home of SusannahShakespeare and her husband the physician John Hallis is an interesting property in its

own right and is partly set up to show how apractising physician would have worked at thetime A special mention too must goe Arterthe award winning independent craft shopadjoining the building and to the beautifulgarden in which open air performances ofShakespearersquos plays are sometimes performed

Stratford-upon-Avon

Holy TrinityChurch viewedfrom the Avon

Nash House andNew Place

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22 SHAKESPEARE magazine

Anne Hathawayrsquos Cottage A short distance from Stratford is Shottery where you can find the beautiful cottage

which was the home of the Hathaway familySet in yet another lovely garden this is thehouse in which Anne Hathaway grew upand was courted by the young William JohnShakespeare served with Anne Hathawayrsquosfather on the town council so their childrenprobably knew each other from a young agee family remained associated with thecottage for several centuries and have spunmany a yarn about the young lovers theveracity of which are highly questionable

However the stone floor of the kitchen isoriginal and we know that William must have walked those stones many many times

Mary Ardenrsquos Farme last of the Shakespeare properties is Mary Ardenrsquos Farm Shakespearersquos mother lived hereand itrsquos where she probably took the infant William when plague broke out in Stratfordshortly after his birth Open from March toNovember only the farm is run as a working

Tudor farm with costumed guides caring forthe buildings and the animals Itrsquos a great placefor a family day out with plenty to see and doand numerous activities runningere are

daily falconry shows archery animals to feedand games to play You can even treat yourselfto a genuine Tudor meal in the cafe ndash pottageand home-baked breads are a speciality

What if you donrsquot have a care town itself is fairly small and all themain attractions are within walking distanceHowever the easiest way to get around and toenable a visit to Anne Hathawayrsquos Cottage andMary Ardenrsquos farm is to the Hop On-Hop Off City Sightseeing busis will take you to allthe main town locations and also to Shotteryand Wilmcote A day ticket will give youunlimited access to the buses and allow you tovisit all of the Shakespeare properties e buscan be picked up by the statue of Touchstonethe jester at the top end of Henley Street

Walking Tours Another excellent way to see the main sites ofStratford and to learn some of the historicaltales of the town is to take a walking tour

Stratford-upon-Avon

Anne HathawayrsquosCottage

Mary Ardenrsquos Farm

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ere are several options depending on thetype of tour yoursquod likee town guides runhistorical tours of the town every day (yesevery day) of the year For those who like to be

a bit more daring there are evening ghost walksled by costumed guides who will tell you someof the spooky tales of Stratford Both of thesetours start from the Swan Water Fountain onthe riverside

Or if you like the idea of being guidedby Shakespeare himself on a Saturday (andMonday to Saturday through the summerholidays) there are town walks led by the manhimself (or someone who looks an awful lotlike him)ese run from Tudor World onSheep Street an interesting museum in thehouse that belonged to the man who wasallegedly the model for Sir John Falsta ff

Holy Trinity Church Another must-see is the townrsquos 13th centurychurch with its distinctive spire that dominatesthe view from the river Remember that if youhave a ticket to the Birthplace properties yourvisit to the grave is free e church is famousfor being where William Shakespeare wasbaptised on 26 April 1564 e old font that

was used for the baptism is displayed in thechancel along with copies of both the registerof baptism for April 1564 and the register ofburials for April 1616 where Shakespearersquosname can be clearly seen Also in the chancelin front of the altar are the Shakespeare familygraves Williamrsquos bears its infamous curse

ldquoGOOD FRIEND FOR JESUSSAKE FOREBEAR

TO DIGG THE DVST

ENCLOSED HEREBLESTE BE YE MAN YT SPARESTHESE STONES

AND CURSED BE HE YT MOVESMY BONESrdquo

On the wall above the grave is the effigy of

Shakespeare Itrsquos one of the few images which was produced within the lifetime of AnneShakespeare and probably one of the mostauthentic likenesses of her husband

The Guildhall and King EdwardrsquosSchoolDirectly opposite the site of New Place standthe Guildhall and the townrsquos old grammarschool Both of these places have links to theShakespeare family King Edwardrsquos Schoolis where the young William is believed tohave studied and itrsquos probably where hefirst encountered the classical texts which soinspired him As the son of a town councillorhe would have been entitled to a placee

old school is sometimes open to visitors at weekends or during the holidays but theschool has just won a lottery grant whichshould enable them to open it as a permanentattraction e Guildhall was sometimes hostto groups of travelling players and so it couldbe the site where young William first sawtheatrical performances It is widely believedthat John Shakespeare owing to his role astown bailiff was responsible for supervising the whitewashing of the medieval Doom Painting

Stratford-upon-Avon

SHAKESPEARE magazine 23

The GuildhallDoom Painting

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24 SHAKESPEARE magazine

Stratford-upon-Avon

is has been recovered and is now once againvisible above the chancel arch

The Royal Shakespeare CompanyTheatre and the riversidee riverside park is home to several interestingsights It is from here that you can get a view ofthe Clopton Bridge pick up a river cruise feedthe swans and admire the Gower Memoriale memorial was presented to the town in1888 and features a statue of Shakespeareseated upon a plinth overlooking statues offour of his best known charactersese areHamlet Prince Hal Sir John Falsta ff and Lady

Macbeth who represent Comedy HistoryPhilosophy and Tragedy Closer to the theatreis the beautiful Swan Water Fountain unveiledin 1996 If you see the water frothing fear notit seems to be a sport amongst local youngstersto fill the fountain with washing up liquid on aregular basis

e Royal Shakespeare Companyeatre was built in 1932 but has recently undergonea complete refurbishment in both the mainand the Swan theatres e building reopened

in 2010 with both theatres having beenconverted to boast thrust stages and curvedgalleries similar in shape to the originalElizabethan playhousese world renowned

Royal Shakespeare Company performshere throughout the year staging plays byShakespeare and his contemporaries as well asby newer authors ey also run an educationprogramme exhibitions family activitiesduring the school holidays and theatre toursTo see Stratford from an entirely diff erentangle take the lift up the 36 metre high towerfor spectacular views across the town

Where to eat and drinkStratford has an excellent range of eateriesto suit all tastes and budgets ere is pubgrub afternoon teas world cuisine finedining pizza pasta and fish and chips Manyrestaurants off er pre-theatre menus and ifyoursquove been on a town walk you may find thatyou can get discount vouchers for your foodere are many pubs in Stratford including theGarrick Inn the oldest pub in the town whereyou can taste the Shakesbeer specially brewedto celebrate Shakespearersquos 450th Birthday in2014 If you want to spot RSC cast members

relaxing after their showse Dirty Duck on Waterside is the place to drink

Where to stay Again Stratford-upon-Avon has a good varietyof hotels bed and breakfasts and holidayhomes All the main chains have hotels inthe town from budget brands to the luxurynamesere is an excellent choice of bedand breakfast establishments in and aroundthe town again these will suit all tastes and

budgets Airbnb also has an interesting rangeof rooms flats and houses to rent in StratfordHowever be sure to book early especially forthe prime summer months

The Shakespeare Birthplace Trustwwwshakespeareorguk

The GowerMemorial Will andPrince Hal

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M

any places around the worldhave been named afterStratford-upon-Avon thebirthplace and home of William

Shakespeare And many of those Stratfordsare home to theatre festivals of varying sizesStratford in the state of Victoria in Australiahas an annual Shakespeare festival still goingevery year while Stratford in Connecticut inthe USA had a major theatre from the mid1950s to the mid 1980s Stratford Ontarioin Canada however stands out among thesetowns and festivals not merely in scope but ininternational reputation and prestige

In 1950 Canada had no home-growntradition of classical theatre Certainly

Shakespeare was performed but there hadbeen a strong anti-theatrical movement inCanada throughout the 19th century whoseeffects still lingered throughout the first half ofthe 20th As a cultural icon Shakespeare wasedifying to be sure but certainly not to beperformed The Stratford Festival changed allof that for Canada

In the late 1940s the local newspapers andgovernment of the town conceived of the ideaof revitalising Stratfordrsquos sagging economy by

capitalising on the name of the town and its

long association with the Bard They bandedtogether and under the leadership of TomPatterson they brought over Tyrone Guthrieand Alec Guinness for the first season in1953 Guthrie had famously directed Gielgud

inHamlet

at Elsinore Castle in Denmarkand had been the manager of the Old Vic inLondon He wanted to create an acting spacethat echoed the original Globe theatre whereactors were surrounded by the audience incontrast to the proscenium arch theatres thatdominated the London and New York scenes

From the first performance which tookplace inside a giant circus-style tent on thebanks of the Avon River the festival workedto create a new aesthetic of Shakespeareanperformance The thrust stage of the FestivalTheatre designed by Tanya Moiseiwitschhas been recognised as one of the greatinnovations in stage design of the 20th centuryGenerations of actors have had to learn howto address an audience on three sides of themsometimes only an armrsquos length away

The festival has been central to the careersof Canadian actors such as ChristopherPlummer Martha Henry and even WilliamShatner Actors from the US and UK havesought to play the festival as well including

Peter Ustinov Christopher Walken and JessicaTandy Indeed these international stars notonly lend credibility but have indelibly markedthe festival For instance Maggie Smithrsquosperformance as Rosalind in As You Like It inthe 1977 and 1978 seasons is legendary in thecompany and the town

Today the festival has expanded to includemultiple performance spaces a theatre schooluniversity accredited courses and the largesttheatrical costume shop in North America

It has started countless careers inspiredcompanies such as Torontorsquos SoulpepperTheatre and helped shape the Canadiantheatre landscape for over 50 years

Stratford Festival ndash Ontario Canada

wwwstratfordfestivalca

MEANWHILE

IN CANADATherersquos more than just one Stratford you knowAnd the one in Ontario Canada has a world-renownedShakespeare Festival gives us a tour

Stratford Ontario

SHAKESPEARE magazine 25

ldquoFrom the fi rst performancethe Festival worked tocreate a new aesthetic ofShakespearean performancerdquo

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Planning to performa short selection

from Shakespeare

The 30-Minute Shakespeare

Anthology contains 18 abridged

scenes including monologues from

18 of Shakespearersquos best-known plays

Every scene features interpretive stage

directions and detailed performance

and monologue notes all ldquoroad testedrdquo

at the Folger Shakespeare Libraryrsquos

annual Student Shakespeare Festival

THE 30-MINUTE SHAKESPEARE is an acclaimed series of abridgments that tell the story of each play while keeping the beauty ofShakespearersquos language intacte scenes and monologues in this anthology have been selected with both teachers and students inmind providing a complete toolkit for an unforgettable performance audition or competition

NICK NEWLIN has performed a comedy and variety act for international audiences for more than 30 years Since 1996 he hasconducted an annual teaching artist residency with the Folger Shakespeare Library in Washington DC

The 30-Minute Shakespeare series is available in print and ebook format at retailersand as downloadable PDFs from 30MinuteShakespearecom

The 30-Minute Shakespeare Anthology

includes one scene with monologue

from each of these plays

ldquoLays the groundwork for a truly fun and sometimes magical

experience guided by a sagacious knowledgeable and intuitive

educator Newlin is a staunch advocate for students learning

Shakespeare through performancerdquo mdashLibrary Journal

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Roaslind Lyons

28 SHAKESPEARE magazine

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For UK artist Rosalind Lyons the Bard is a

constant presence in her creative life She tells

us how Shakespeare inspired the haunting and

dreamlike works that adorn these pages

Words and paintings by Rosalind Lyons

Rosalind Lyons

SHAKESPEARE magazine 29

Left TheRoaring Boys

PAINTINGSHAKESPEARE

S hakespeare has long been at the heart ofmy work sometimes directly and obviouslyin the subjects and often in the titlesBut always Shakespearersquos words charactersand stories are there in my head when Iam painting ndash a perpetual conscious andunconscious presence

My style echoes that of the Renaissancepainters and Elizabethan portraits andthese influences combined with a life-long love of Shakespeare made my firstvisit to Shakespearersquos Globe pivotal Iexperienced a powerful sense of connectionand recognition Here suddenly ideasand themes with which I had been so longpreoccupied were brought to life

I subsequently gained access to theGlobe to draw and later spent some time

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as Artist in Residence thereat experienceprompted more in-depth exploration notonly of Shakespeare and painting but of therelationship between painting and theatreere are of course the strong visualconnections ndash both are spaces for spectacleand illusion But also compelling ideas oftransformation imagination storytelling andidentity And overall the theme of ambiguitye blurring of boundaries between realityand fiction male and female light andshadow past and present I am fascinated byhow we respond to history how we re-presentand re-imagine the past And the figures inmy paintings are imagined as belonging toboth now and then ndash flitting back and forthacross the threshold between past and presentbetween Shakespearersquos time and our own

modern worldI have painted some specific characters

from Shakespeare but many subjects ofmy paintings are anonymouse figuresare unknown their place purpose role is amysteryis anonymity is unsettlingereare clues in the setting in the costumes ndash orperhaps I should just say in the clothes theyare wearing ndash but the context is not obviousI am fascinated by the dramatic convention ofcross-dressing ndash and particularly the inherent

confusion as with Rosalind ( As You Like It )and Viola (Twelfth Night ) in the idea of aboy playing a girl playing a boy Many of thecharacters I invent are androgynous theirgender and age uncertainis ambiguityof identity interests me in the context ofvisual illusion and theatrical transformationthe idea of inbetween-ness and somethingunresolved

Like theatre my paintings are concerned with inventing characters and the creation

Right No MoreYielding But A

Dream

Roaslind Lyons

30 SHAKESPEARE magazine

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of an imaginary world and I am particularlyattracted to the fools fairies and witchesIn A Midsummer Nightrsquos Dream the fairiesrsquoactions may seem malevolent or benign or just mischievous but there is definitely a dark

side an underlying sense of threate Fool too is intriguing Shakespearersquosfools frequently describe themselvesor are referred to as a nobody but areunquestionably much moree fool is anoutsider concerned with but at the same timeseparate from the story He ndash or sometimesshe ndash doesnrsquot quite belong anywhere butseems to exist on the boundary between thefamiliar and the uncanny

I am attracted to the strange to mysteryand shadows and try to express through myimages a strong feeling that it could be thator maybe something else As Orsino says atthe conclusion of Twelfth Night ldquoA naturalperspective that is and is notrdquo While makinga painting and even when it is finished Idonrsquot know really who my characters are ndashthey remain elusive But I like not knowingand ultimately meanings always change anddepend on individual perceptions

My experience at the Globe led to aparticular fascination with the ambiguous and

protean quality of the theatrical performerhow their identity transforms and fluctuatesI was attracted by this when watching

Rosalind Lyons

SHAKESPEARE magazine 31

Above A MidwinterNightrsquos Dream

Right Three Fools

Far right FollowingDarkness

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rehearsals observing actors shift between selfand impersonation between diff erent realitiesand identities When they are not acting theyndash metaphorically and often literally ndash melt

into the shadows I am interested too in thephysical and symbolic threshold between lsquoonrsquoand lsquooff rsquo-stage the transformation inherentin an actor moving from the wings onto thestage assuming another self and anotheridentity Particularly evocative is the fact thatactors were colloquially known as shadowsin the Elizabethan playhouses ndash suggestingsomething unknowable and insubstantialIn the Prologue to Henry V Shakespeare hasthe Chorus describe the players as lsquociphersrsquoimplying deception and secrecy

Artists in the past who have tackledShakespeare have generally produced imagesthat directly illustrate the text or representfamous actors or scenes from a particularperformance Today as well as on the stageShakespearersquos plays are frequently re-imaginedin very successful film and TV adaptationsbut I have struggled to find more than ahandful of contemporary fine artists whohave engaged with Shakespeare on any levelPerhaps Shakespeare as a subject is seen

by some as too traditional too lsquopopularrsquoor simply just too lsquooldrsquo But in the theatreand in literature there is an ever-increasingenthusiasm for innovative interpretationsof the plays and for me Shakespeare is aconstant inspiration

e Prologue of Henry V also urges theaudience to ldquoPiece out our imperfections withyour thoughtsrdquo to liberate the imaginationand create another kind of reality to shapeour own fantasies within the ldquowooden Ordquo of

the theatre In my paintings I endeavour todo the same

Explore the work of Rosalind Lyons atwwwrosalindlyonscom

Above These Two CreaturesBelow Therersquos Magic In Thy Majesty

Roaslind Lyons

32 SHAKESPEARE magazine

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$amp( ) +-01

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Aidan OrsquoReilly

34 SHAKESPEARE magazine

Looking forRichard AidanOrsquoReilly is playingShakespearersquosbaddest monarch

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Aidan OrsquoReilly

SHAKESPEARE magazine 35

You are legally blind having been

diagnosed with retinoblastoma as an

infant How did this impact on your

acting aspirations and early career

ldquoMy parents did a good job raising me Inever grew up thinking of it as a handicap orthinking it could hold me back from what I wanted to do I couldnrsquot play sports at all soI think my parents were grateful that I hadsomething that I was passionate about from avery young age

ldquoI went to a public elementary school with a program designed for the blind so itfelt very natural for me to be the way that I was And acting has always been part of thatrdquo

You went to RADA in London Was

there a reason why you wanted to

train in England and not in the US

ldquoItrsquos always been an ambition of mine to

travel as far and wide as possible Also myhero growing up was Peter OrsquoToole ndash Iread his autobiography in high school andlearned he had gone to RADA and decided I wanted to go there too So I auditioned therenot knowing that RADA is arguably thebest drama school in the English-speaking world Consequently I was quite relaxed atthe audition which is probably why I gotin My ignorance can sometimes serve me well Going to RADA was a life-changing

Aidan OrsquoReilly is an actor with an

inspiring story Legally blind since he

was six months old he forged a passionfor drama at an early age Aidan went

on to gain a BA with honours from

Londonrsquos Royal Academy of Dramatic

Art before touring for three years with

the American Shakespeare Center

In 2012 Aidan was diagnosed with

sarcoma a rare cancer He bounced

back in 2014 after intensive treatment

and is now cancer-free We spoke to

Aidan as he prepared to play the title

role in Richard III for Californiarsquos Marin

Shakespeare Company We asked himto share his story and to give us his

take on one of Shakespearersquos most

fascinating characters

Interview by Jen Richardson

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Aidan OrsquoReilly

36 SHAKESPEARE magazine

experience I was lucky enough to havecontact with brilliant professors and Irsquom stillin awe of the students I went to school withI wouldnrsquot trade that experience for anythingrdquo After graduating from RADA you

went on the road with the American

Shakespeare Center Tell us a bit

about that

ldquoThat was one of the happiest times of mylife In many ways I got spoiled I was a working actor 11 months out of the yeartouring nationally seeing parts of the USI had never been to before doing plays Iloved and working with directors who werevehemently faithful and respectful to the text When I wasnrsquot on the road I was in residenceat the Blackfriars Playhouse in StauntonVirginia with many extraordinary actorsI was very lucky to be thererdquo

Three years ago you were diagnosed

with sarcoma How did you

overcome this enormous challenge

and return to the stage in 2014

ldquoThe only reason Irsquom still alive is because ofmy mother Lily and my wife Jocelynn AlsoI was fortunate that we caught it before it hadspread and it was on my leg and away fromany major organs

ldquoI am very grateful for my team of doctorsat UCSF who did an incredible job in mytreatment and follow-up care Irsquom glad to beback to workrdquo Yoursquore now due to play Richard III

with Marin Shakespeare Company

Howrsquos it going so far

ldquoAt this point Irsquom in the paperwork stage

of things A lot of reading the HenryVI s biographies of Richard as well asperformance history of the play itself Irsquomdoing a fair amount of limping around myapartment as well I canrsquot wait to get intorehearsals next weekrdquo Tell us about Marin Shakespeare

Company and what appealed to you

about working with them

ldquoRobert and Lesley [Currier MSCrsquos Artistic

Director and Managing Director] arefascinating people Their intelligence andhumour is contagious Without questionthere is a lot to be learned from themrdquo Richard IIIrsquos remains were discovered

in 2012 and reburied this year Is all

the new information about Richard

influencing your portrayal

ldquoYes and no My job isnrsquot to play the historicalRichard but the Richard that Shakespeare has

Aidan believesthat Richard IIIrsquosobsession withcontrol is whatcauses his downfall

ldquoPeter OrsquoToole wasmy hero He went to

RADA so I wanted to go there toordquo

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Crowning gloryAidan with MarinShakespearersquosRobert Currier

created Itrsquos helpful to know the facts of thesituation in order to gain insight into whathas been changed in Shakespearersquos versionof events

ldquoI met with a friend of mine who is a

retired surgeon who walked me through themedical information that has come to lighton Richardrsquos body and I will certainly usethat to inform my physical choicesrdquo Unlike many actors yoursquore the right

age to play the historical Richard III

Do you feel Richardrsquos relative youth

has been overlooked

ldquoI do Richard is a young man who believeshe is hardened by the experiences he andhis family endured during the War of theRoses and believes himself to be beyondhuman emotions and the lsquorestrictionsrsquo of aconscience He isnrsquot He pays the bill for thehorrible things he does That lack of self-knowledge is not exclusive to youth but I feelit makes him more sympathetic and relatableto an audiencerdquo Some people think Richard III shows

Shakespeare delivering a highly

effective piece of Tudor propaganda

Where do you stand on thatldquoI think Shakespeare has a soft spot foroutsiders and underdogs Although his playssometimes work within the confines of thebiases of Elizabethan society he canrsquot help butmake his lsquovillainsrsquo fascinating human beings

For as horrible as Richard is itrsquos amazing tosee how audiences relate and respond to himrdquo Which other important themes do

you feel Shakespeare deals with in

the playldquoThe history plays are full of extraordinarypeople who waste their lives and intelligence who sacrifice their humanity in pursuit of thecrown Itrsquos still happening today What is theattraction of power Richard never pauses tothink of why he wants the crown or if hersquodbe any good as king Turns out hersquos not butitrsquos this bizarre obsession with control thatpropels him to kill everyone off thatrsquos in his way Itrsquos also fascinating that the one characterthat is consistently kind to Richard is hisfather York

ldquoI think an argument can be made thatRichard in his warped way is trying to liveup to the image he has of his father Ofcourse York is dead and gone by the timeRichard III begins but you can glean a lotabout Richardrsquos inner workings in the way hespeaks about his father Of course itrsquos foolishto try to answer questions that Shakespearedoesnrsquot and Irsquom not trying to say this solvesa mystery but I think itrsquos interesting Itrsquos only

an element itrsquos not the answerrdquo Richard III is listed as a historical

play in the First Folio but in the

quarto edition it is termed a tragedy

Which category would you put the

play in and why

ldquoI think of the history plays from Richard II to Richard III as one vast play an epic thatencompasses all the categories I think if youlook at Richardrsquos progression through those

plays you see a great mind warped by the War of the Roses and that certainly adds tothe tragic element I think of Richard III asthe final chapter of a great epicrdquo

Aidan OrsquoReilly stars in Marin ShakespeareCompanyrsquos Richard III from 4-27 September

Aidan OrsquoReilly

SHAKESPEARE magazine 37

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Scotland Shakes

SHAKESPEARE magazine 39

Bonnie Prince

Brian Fergusonas Hamlet in theCitizens Theatre

production Photoby Tim Morozzo

Billy William Shakespeare is undoubtedly Englandrsquos

Bard But how is he viewed north of the border

Our Caledonian correspondent surveys the state

of Shakespeare in Scotland and meets esteemed

outdoor theatre company Bard in the Botanics

Words Paul F Cockburn

T owards the end of May thisyear a BBC Scotland afternoon

news bulletin surprisinglyturned its attention to aforthcoming production of

ldquoone of William Shakespearersquos best lovedplaysrdquo ndash A Midsummer Nightrsquos DreamHowever this particular production wasnrsquotconsidered newsworthy because it came froman amateur group based in Dumfries andGalloway Not even that the CrossmichaelDrama Club were one of just seven amateurScottish groups taking part in the Royal

Shakespeare Companyrsquos Open Stages project which aims to help amateur companies

extend their repertoiresNo the lsquohookrsquo was how this newproduction was Shakespeare ldquobut no asyou micht ken itrdquo Because it had beenreimagined in Scots as A MidsimmerNichtrsquos Dreme

As it happens writer John Burns saysthat his principle reason for translating AMidsimmer Nichtrsquos Dreme was simply theintuition that it being in Scots would workto the benefit of the production ldquoItrsquos not

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Scotland Shakes

40 SHAKESPEARE magazine

so much that 16th century English canrsquot docertain things more that using Scots brings itcloser to a Scottish audience and to audiences who might think Shakespeare too fancyrdquo hesays ldquoI feel too that Scots can catch the sheerphysical power of Shakespearersquos language He writes lines you really feel physically when

you say them out loud My intention was touse Scots to produce a text that was actableand which would be accessible and enjoyablefor the audience and the Scots was a majorpart of thatrdquo

Arguably translating Shakespeare intoScots ndash viewed by many as a distinct languagefrom English ndash is just one way of finding thecontinued relevancies of Shakespearersquos writing with the here and now Certainly John Burns was keen to see if Scots ldquocould match the way

Shakespeare switches tonehellip from broad attimes bawdy humour to moments that aremore serious or even sinisterrdquo

Yet there is a wider perspective whether wersquore discussing translation into Scots orsaying Shakespearersquos words with a Scottishaccent Willy Maley and Andrew Murphyin their introduction to Shakespeare andScotland (published by Manchester UniversityPress in 2004) go as far as describing thetranslation of Shakespearersquos Macbeth into

Scots as ldquoa patriotic actrdquo not least becauseof ldquothe political commitment implicit intranslating from English to Scots reversing

the dominant dubbing practice infi

lmsrdquoGlasgow-based novelist and playwright Alan Bissett ndash who actively campaigned fora Yes vote during last yearrsquos IndependenceReferendum ndash has since written about howsince the 1970s Scottish theatre had ldquoadeep engagement with the shifting beastof Scottish politicsrdquo Although Bissett wasfocusing primarily on original works byScottish playwrights and directors itrsquos worthpointing out that Shakespeare ndash despite therebeing absolutely no evidence to prove he evertravelled north of Carlisle ndash has played hisown part in this

As Maley and Murphy point outldquoScotlandhellip never had precisely the samerelationship with the Bard as England hasbut has experienced a fraught process ofappropriation incorporation and resistancerdquoIn part this is because Shakespeare ndash in hislatter career ndash was among the first lsquoBritishrsquo writers Many of his later plays ndash Cymbeline King Lear even Hamlet ndash were produced

A tartan-cladAntipholus andDromio in Bard inthe Botanicsrsquo TheComedy of Errors

Brian FergusonrsquosHamlet CitizensTheatre productionPhoto by TimMorozzo

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under the patronage of Scotlandrsquos King JamesVI (aka James I of England) Each in theirown way can be said to touch on ldquothe matterof Britainrdquo the complex relationship between

the constituent elements of Jamesrsquos newlsquounitedrsquo kingdom which the Stuart monarch was determined to see joined into oneat never quite happened of course

Even after the 1707 Act of UnionScotland retained its own legal educationaland religious systems along with anaccompanying sense of Scottish identity ndash which survived even the height of the Britishempire Yet from the 1970s on there havebeen notable changes in how Shakespeareis treated by Scotlandrsquos producing theatrecompanies Several years ago GlasgowrsquosCitizenseatre delivered a powerful Romeoand Juliet in part because of their decision toset the action in a present-day sectarian Westof Scotland ndash with accents to match

ldquoEnglish-accented Shakespeare carriesa specific resonance in Scotland one thatdirectors usually choose to avoidrdquo pointsout Mark Fisher a freelance journalist criticand author of the forthcoming book How toWrite Abouteatre

ldquoIrsquom not sure exactly when attitudesstarted to change but Irsquod say the argumentin favour of Scottish-accented productionshad been pretty much won by the 1990sBy that time companies such as Raindogand directors such as Hamish Glen hadbeen making a point of casting very Scottishproductions of Shakespearerdquo

One example of how things hadprogressed even by 1992 was the late KennyIrelandrsquos production of A Midsummer

Nightrsquos Dream his first as Artistic Directorat Edinburghrsquos Royal Lyceum ldquoHe castthe mechanicals with Scottish accents andeveryone else with English accentsrdquo MarkFisher explains ldquois I said in my review wasa fundamental error ndash or some such phrasee message it sent out was that people withScottish accents were foolish figures of fun whereas people with English accents wereserious figures of respect

ldquoIreland reacted furiously to my review

and made the case that he had based thecasting of the mechanicals around (the actor) Andy Gray who has a Scottish accent Inother words the meaning I inferred hadnot been deliberate I think itrsquos true to sayhowever that Ireland never cast a Shakespearelike that againrdquo

Gordon Barr is Artistic Director of

Glasgow-based Bard in the BotanicsScotlandrsquos only professional Shakespearecompany (see following pages)

ldquoWersquove never gone out of our way tomake Scottish versions of these texts norhave we gone out of our way to have classicaltraditional voicesrdquo he says ldquoMost of our coreactors have made their careers up here so wethink of them as Scottish actors

ldquoat is important to us to not overlylook outwards for the acting company As

much as possible we work with people who are based in Scotland Wersquore regularlyproducing Shakespeare here and we want tobe a part of the training to ensure that there isa range of strong classical actors hererdquo

Citizens Theatrewwwcitzcouk

Owen Whitehawas the Fool andDavid Hayman asLear in CitizensTheatrersquos King Lear Photo by TimMorozzo

Scotland Shakes

SHAKESPEARE magazine 41

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Bard in theBotanicsrsquo As You Like

It takes Rosalind andOrlando into theopen air

ldquoTouring is something that we have wanted to do foryears but was somethingthat we could not afford

to do without fundingrdquo says Gordon Barr Artistic Director of Scotlandrsquos only professionaloutdoor Shakespeare festival Bard in theBotanics If therersquos any irony attached tothe companyrsquos first major tour of Scotland which took place in early 2015 itrsquos that theperformances of their acclaimed Romeo and Juliet ndash featuring a cast of five ndash were playedexclusively indoors

ldquoNobody is touring classical theatre in

Scotland at the minute so itrsquos importantto usrdquo Barr adds ldquoOur work is so muchabout accessibility One of the joys of beingoutdoors is that people come to see the work who wouldnrsquot buy a ticket for a theatre Ifyou can bring a picnic sit out on the grass while watching the show it feels easier moreaccessible But people canrsquot come from Thursoto Glasgow for a night just to see a productionof Shakespeare They should be able to see itin Thurso So that is kind of where the urge totour came fromrdquo

Bard in the Botanics has presented outdoorShakespeare within the grounds of GlasgowrsquosBotanic Gardens since 2003 This yearrsquoslsquoUnlikely Wondersrsquo season presented newproductions of Loversquos Labourrsquos Lost The Merchant of Venice Richard II and A Midsummer Nightrsquos Dream in lsquoreprsquo between24 June and 1 August

The companyrsquos founder Scott PalmerBarr explains had done a lot of his training atthe Oregon Shakespeare Festival one of the

biggest in North America ldquoWith the kindof drive and enthusiasm that only Americanshave he managed to convince the entire cityof Glasgow that outdoor Shakespeare would work and that the weather wasnrsquot going to be

a problemrdquoTwo years later Palmer moved on and Barr

ndash originally involved as a director ndash succeededhim as Artistic Director ldquoIf anyone then hadsaid that I would end up spending 12 yearsrunning an outdoor Shakespeare festival I wouldnrsquot have believed themrdquo he says in hisoffice hidden behind some of the Botanicsrsquogardening sheds ldquoI very quickly fell in love with it once I started working here Despiteall the trials and tribulations that outdoortheatre in Scotland brings with it therersquos just

something magical and special about it Itrsquos a very close-knit company and thatrsquos sort of keptus all here as long as we have beenrdquo

While the annual summer season ofShakespeare plays in the Botanics will remainat the centre of what the company does ndashldquoOtherwise Bard in the Botanics becomesa rather strange namerdquo ndash Barr is very much

Outof theGarden

This year has seen Glasgowrsquos Bard in the Botanicsdo something completely unexpected They wentout on a tour of ndash whisper it ndash indoor venueshellip

Scotland Shakes

42 SHAKESPEARE magazine

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Scotland Shakes

SHAKESPEARE magazine 43

focused on building on the touring side ldquoBecause it was our first ever tour we

did end up taking Romeo and Juliet to theestablished Scottish touring circuitrdquo he addsldquoIt takes a while to build up relationships with the smaller venues thatrsquos going to bean ongoing process for us Even so we weretaking Romeo and Juliet to places like Mulland Stranraer ndash communities and venues thathavenrsquot had a lot of classical theatre comingthrough themrdquo

The choice of play was deliberate too ldquoIt was a production that was ready to go whichhad received five star reviews and sold out itsextended run in the Botanics in 2012 So weknew that the work was good but therersquos nodoubt that for a first tour we wanted to makeit easier for the venues to sell it Most venuesknow they can find an audience for Romeo and Juliet rdquo

In time he hopes that audiences aroundthe rest of Scotland will come to trust the Bardin the Botanics name sufficiently to take on theless familiar plays

ldquoYou just donrsquot know how quickly acommunity is going to turn out for Henry IV yetrdquo he says ldquoHopefully three or four toursdown the line theyrsquore going to turn out forBard in the Botanics ndash and if it happens to be

Henry IV well thatrsquos greatrdquoGiven their reimagining of A MidsummerNightrsquos Dream as a 1920s burlesque musicalis there a particular Bard in the Botanicsapproach to Shakespeare

ldquoOur kind of unofficial motto is lsquoBe BoldBe Braversquordquo Barr says ldquoIf wersquore continuingto stage these plays around 400 years afterShakespearersquos death I think therersquos an urgencyto ask lsquoWhyrsquo It is important to questionlsquoWhat is the story that we want to tellrsquo I wantto see how these plays intersect with historyand todayrsquos society not to present museumpieces

ldquoItrsquos always with an eye to try to releasesomething thatrsquos within the textrdquo Barrinsists ldquoWersquore not remotely interested ininnovation for innovationrsquos sake The playsare masterpieces thatrsquos essentially why wersquorestill doing them 400 years later But to revealsomething thatrsquos unexpected or new thatrsquosimportant to usrdquo

Bard in the Botanics

wwwbardinthebotanicscouk

Rosalind and Audreyin the forest Bardin the Botanicsrsquo As You Like It

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Shakespeare at the Tobacco Factory stf 2016 Seasonco-production with Tobacco Factory Theatres

HAMLETBy William Shakespeare

Directed by Andrew Hilton

Main run Thu 11 February ndash Sat 26 March 2016

In repertoire with Allrsquos Well That Ends WellMon 25 ndash Wed 27 April Sat 30 April 2016

The most famous play in world drama Hamlet

turns a new face to every decade So many

elements - political madness sex murder ndash all

brought together in a drama that is both a thriller

and the profoundest meditation on our human

condition

ldquoThrilling workrdquo The Guardian on Romeo amp Juliet

ldquoBullseyerdquo WhatsOnStage on Romeo amp Juliet

Shakespeare at the Tobacco Factory Friends Priority Booking opens Wed 23 September 10am

wwwstf-theatreorguk

Tobacco Factory Theatres Members Priority Booking opens Wed 16 September 10am

wwwtobaccofactorytheatrescom

Public Booking opens Wed 30 September 10am

Tobacco Factory Box Office 0117 902 0344

ALLrsquoS WELL THAT ENDS WELLBy William Shakespeare

Directed by Andrew Hilton

Main run Thu 31 March ndash Sat 23 April 2016

In repertoire with Hamlet

Thu 28 ndash Fri 29 April Sat 30 April

A young woman using skills bequeathed herby her father saves the French Kingrsquos life and

is rewarded with the right to choose her own

husband But what if the chosen one wonrsquot play

the game How can she get him into bed How

can she make him love her

ldquo There is something approaching real

magic hererdquo The Arts Desk on The School for Scandal

P h o t o s M

a r k D o u e t

Dorothea MyerBennett in Richard III

Benjamin Whitrowand Julia Hills in The

School For Scandal

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Having conquered

Hollywood and vanquished

the global entertainment

industry video games now

on our culture So where

does the Bard stand in all of

this We sent a Shakespeare

scholar to investigatehellip

Words Andrew Bretz

Shakespeare video games

46 SHAKESPEARE magazine

T eGamersquos A oot Silent Hill is one

big-name gamewhich includesShakespearereferences

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Shakespeare video games

SHAKESPEARE magazine 47

German cardboard Macbeth datingfrom the early1800s

Hamlet reimaginedRyan Northrsquos To Be

Or Not To Be

W

hen you walk intothe wood panelled Victorian Gothicismof the Gail Kern Paster

Reading Room at theFolger Shakespeare Library in WashingtonDC video games are probably the lastthing on your mind Buried deep withinthe archives however are a set of fragilecardboard figures printed in Germany in theearly 1800s representing each of the maincharacters of Macbeth

Nineteenth century German children would play with these figures on smallcardboard stages no bigger than a dollhouseey could replicate the story as it was toldin Shakespeare or use their imagination tochange the ending letting Lady Macbethsurvive and bringing Duncan back from thedead if they so chosee limits of the game were the limits of their imagination

Today the lsquogamificationrsquo of Shakespeareis a big business from Ryan Northrsquos choose-your-own-adventure edition of Hamlet To Be Or Not To Be to IDW Gamesrsquosupcoming Kill Shakespeare board gamebased on the comic of the same name

Gamifying Shakespeare is filtering intoschools libraries and the theatrical worldas well with the University of California atDavis the Stratford Festival in Ontario theGlobeeatre in London and the LondonMetropolitan Archives all experimenting with video game elements in exhibits productionsand research

Why video games In a sense this is thelogical next step in the media development ofShakespeare Hersquos everywhere in other media

books movies merchandise But videogamese answer for that depends on whoyou ask

StorytellingOccasionally individuals or publishinghouses develop video games that try to tellthe story of say Hamlet yet this is relativelyrare One example would be Elsinore a time-looping narrative adventure game set in the world of the play Players play the game as

Ophelia who wakes up knowing that in fourdays the entire court will be dead and shemust do something to stop ite problemis that she is stuck in a time loop reliving thesame four days over and over againat said Shakespearersquos presence in the

video game industry tends to be focused oncitation rather than adaptation of the playsat is video games for Xbox Playstationand other popular gaming systems often

just cite Shakespearersquos plays as a part of acommon cultural heritageese games donrsquotrestage say Hamlet but they quote the playIn these cases Shakespeare is used to establisha point of identification for the audience His writing tells the audience something aboutthe character or the situation

Given that audiences are supposedto be able to identify the quotations asShakespearean it is unsurprising that Hamlet is the most popular text for game designers to

cite Ine Elder Scrolls Online for instancea merchant NPC (non-player character)quotes Polonius when players interact sayingldquoNeither a borrower nor a lender berdquoe words establish the NPCrsquos role as a merchant while fitting the medieval world of thegame In the game LA Noire upon pickingup a fake shrunken head at a crime scene adetective leaps into high melodrama withldquoAlas poor Yorick I knew him Horatiordquoequotation and the clever voice acting establish

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Shakespeare video games

48 SHAKESPEARE magazine

the characterrsquos strait-laced yet macabre senseof humour

Sometimes citing Shakespeare is a partof a critique of a larger theme In the game Mass E ff ect the Elcor are a race of elephantinealiens who preface all statements with adescription of the emotion they are feelingand who speak in a slow monotonous drone As players interact with the expansive worldthey can discover a number of advertisementsfor an all-Elcor Hamlet e idea of theElcor actor ndash the ultimate in a flat woodenperformer ndash having to preface ldquoTo be or not

to berdquo with ldquomorose ruminationrdquo goes beyondthe simple humour of a bad Shakespeareperformance It subtly asks what it is aboutacting (and especially voice acting) that isvaluable

Shakespeare can appear in video gamesnot merely as a marker or contextualisationtool but as a part of a puzzle For example inthe game Silent Hill 3 players must arrange aset of Shakespeare anthologies on a bookshelfin an abandoned shopping mall in order to

proceed in the game At the hardest levelthe puzzle clue takes the form of a poemthat references all the major tragedies Romeoand Juliet King Lear Macbeth Othello andof course Hamlet e bloody nature of thetragedies fits with the bloody nature of theSilent Hill series of games which fall into thesurvival horror genre

Popular video games have also servedas the inspiration for games that engage with Shakespeare in a more direct way For

example Daniel Fischlin at the Universityof Guelph in Ontario Canada led a teamthat created a Flash game called rsquoSpeare Itrsquos

a scrolling arcade-style game suggesting thersquo80s hit Galaga which sees players identifyingand navigating through a series of enemies who turn into words upon being destroyede player progresses through the levelsby collecting the correct words to createShakespearean quotes learning Shakespeareantrivia along the way

ImmersionOne of the most exciting aspects of videogames is the ability to immerse the player inthe world of the game in a way that othermedia simply cannot do Being able to walkaround Prosperorsquos cell Julietrsquos balcony orto stand before the ghost of Hamletrsquos fatheras he cries out ldquoList list O listrdquo ndash theseexperiences are made possible through videogame technology

Students of Scenic Arts at the Universityof Hildesheim in Germany created Projekt ARIEL or SturmMOD in 2008 using a lsquomodrsquo(or modification) to the engine that runs

the game Far Cry 1 e performance artproject allowed users to experience Prosperorsquosisland interacting with certain parts andexploring others Players could walk aroundan imaginative rendition of Prosperorsquos cell and witness or interact with elements of the playincluding diff erent characters like CalibanProspero and Miranda

Four days to savethe Danish court

Elsinore

Another Hamlet reference this timein LA Noire

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Shakespeare video games

SHAKESPEARE magazine 49

Gina Bloom at the University of Californiaat Davis is presently spearheading a projectthat will be demonstrated in the lobby of theStratford Festival theatre in Ontario Canadathis summere project Play the Knave AShakespeare Performance Videogame lets usersdesign a virtual performance space and thenperform a scene from a Shakespeare playinhabiting this constructed space with anavatar As a Davis insider explains ldquoWe use akinect motion capture camera to capture theuserrsquos skeletal data so that players use theirentire bodies to control their avatarrsquos gesturesonscreen all the while reciting the lines from

Shakespearersquos scenerdquo is literally immersesthe players in the scene

Shakespearersquos Globe eatre in Londontook another tactic regarding immersionin the production of the game HemmingsrsquoPlay Company Hosted on the Playgroundportion of the Globersquos website and thusaimed at an audience of children the gamehas players taking on the role of Hemmingsan Elizabethan bear who leads a troupe oftheatrical animals such as Kit the Cat Dekker

the Dog and Slye the Foxe turn-based game leads players through

the vagaries of Elizabethan theatre practicefrom patronage to lost props and the plagueBy the end of the game players must earnenough money to rebuild the Globe after itburns down during a performance of HenryVIII

Also from Shakespearersquos Globe are twoinnovative video experiences created forchildren aged five to 11 e first Exploring

Shakespeare features two boys on a tour ofthe Globe theatre who sneak off to explorebackstage e video illustrates four plays

using short animations that are keyedto things the boys find backstage etechnology combines live action film andanimation to create an interactive touchablegame Filled with mini-games quizzes andinteresting facts about Shakespeare the gameallows players to click through the narrativeor to stop and learn more as they go along

e second video called Staging It usesthe same technology as the first film but thistime is for the 11-16 age group In this gamee Globe has filmed two actors performingfamous duologues from A MidsummerNightrsquos Dream and Macbeth on the Globestage Rather than shoot it once the actorshave performed their lines in diff erent ways(happy flirtatious defensive and so on)creating several diff erent clips per linePlayers can watch each of the clips and addtheir choice to a dynamic storyboard tobuild up their final scene Impressively theplatform allows for up to 1000000 diff erentcombinations of clips

Apps and Mini-GamesItrsquos when you start to look outside of therealm of popular video game platformslike Xbox or Playstation that Shakespeare

Silent Hill 3 Brush upyour Shakespeare ifyou want to survive

Hemmingsrsquo PlayCompany fromShakespearersquosGlobe

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Shakespeare video games

50 SHAKESPEARE magazine

really starts to pop up wherever you looke ubiquity of Shakespeare is especiallynoticeable when you start to look at apps andmini-games designed for phones and tablets

In 2012 Big Fish Games released aniPhone and iPad game called Hamlet that featured all the main characters ofShakespearersquos play but transposed them intoa save-the-princess narrative puzzle game A time traveller lands in Denmark andaccidentally kills Hamlet and so players mustcomplete his journey for him saving Opheliaand killing Claudiuse Shakespeareancontent is minimal and heavily adapted andyet it fits with the puzzle format in whichShakespeare tends to be found in videogamese Chronicles of Shakespeare Romeo amp

Juliet ande Chronicles of Shakespeare A Midsummer Nightrsquos Dream are lusciously-illustrated puzzle games for the PC In themplayers act as one of the characters from theplays gathering items and clues through aShakespearean environment

Among the literally thousands of appsrelated to Shakespeare that can be found forthe iPad or Android tablet are

e Shakespearean Insult Creator which generates invectives drawn from a wholly Shakespearean vocabulary So nexttime you want to call someone a jerk trysomething more like ldquoou fusty follyfallenfustilarianrdquo

e Shakespeare Translator whichtranslates ldquonormal English words and phrasesinto the words of Shakespeare himselfrdquo

e Shakespeare Fortune Cookie which provides short quotes from the plays

and a small trivia game Shakespeare or Die a game that

scrambles the words of famous quotationsfrom the plays and asks you to identify theplay and character who spoke the line If youmake a mistake however beware the witchesese apps are either explicitly games or

they are coming out of a game-like impulse tomake Shakespeare more accessible to everyone with an internet connection

Brave New WorldsIn a world where Shakespeare is an industrycounted in the millions of dollars per yearit is so easy to forget that Shakespearersquos playsare just that ndash playsere is a sense of joyand fun and happiness embedded in theexperience of watching them Games are oneof the ways that people over the centuries

have tried to recapture that elusive sense ofplayfulness within Shakespeare So it makesperfect sense that now with the advent ofdigital technologies Shakespeare is movinginto the digital world with a vengeance

From big studio games likee ElderScrolls to small apps that can be downloadedfor free from talking bears to immersiveperformance experiences Shakespeare iseverywhere in video games Rather than beingan undiscovered country into which the Bard

is only just beginning to emerge games havein fact engaged with Shakespeare and his works for hundreds of years And they willprobably continue to do so for hundreds ofyears to come

rsquoSpeare is a scrollingarcade-stylegame with addedShakespeare trivia

Hamlet is aShakespeare-themed puzzle fromBig Fish Games

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Meet thy makers

Helen Mears fell into bardolatryduring her teenage years and has

never recovered She is a volunteersteward at Shakespearersquos Globe

which ensures a regular diet of theBard She teaches English Film andMedia at Suffolk New College and isa specialist in teaching Shakespeareusing active methods Her favouriteShakespearean actor is Jamie Parker

and her favourite plays are the SecondHistory Tetralogy She hopes to

finish her Masters in the AdvancedTeaching of Shakespeare very soonFind her on Twitter hipster_hels

Paul F Cockburn is an Edinburgh-based freelance magazine journalist who specialises in writing about

arts and culture equality issues andpopular science Hersquos sufficiently

grey-haired for his English Literaturetraining to have sort of overlapped

with The BBC Television Shakespeareproject saving at least some of the

plays from death by academiaFind him on Twitter paulfcockburn

Jen Richardson first fell in love withShakespeare as a 15-year-old schoolgirl

ldquoHe got under my skin and hersquos still theretodayrdquo After training with a Manchester-based drama tutor she went on to pursuean acting career Drama remains a greatinterest but her focus is now on sharing

her passion for Shakespeare throughher writing In her spare time Jen is

generally down in Stratford-upon-Avonsitting on her favourite bench behind

Holy Trinity ChurchFind her on Twitter The_JenJen

Andrew Bretz is a sessional instructorof English Literature and Drama

specialising in early modern dramaHe has taught at Wilfrid LaurierUniversity the University of Guelph

Brock University and McMasterUniversity For the past two years he

has taught a special summer intensiveat Ontariorsquos Stratford Festival His PhDdissertation was on the representationof sexual violence on the early modern

stage Find him on TwitterAndrewBretz001

Just some of the contributors to this issue of Shakespeare Magazine

Rosalind Lyons is a painter whohas exhibited widely in both mixedand solo shows with work in UK

and international private collections A life-long love of Shakespeare isreflected in many of her paintings

and a particular recent focus isShakespearersquos Globe theatre where shespent a period as artist-in-residenceShe is currently studying for a PhD

in Painting and ShakespeareanTheatre at Anglia Ruskin University

in CambridgeFind her on Twitter roslyons

52 SHAKESPEARE magazine

Contributors

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Page 12: Shakespeare Magazine 08

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Benedict Cumberbatch

12 SHAKESPEARE magazine

ldquoA villain kills my father and for thatI his sole son do thissame villain sendTo heavenrdquo [III 3]

ldquorsquoTis in mymemory lockrsquod And you yourself

shall keep the key of itrdquo[I 3] Ophelia (Siacircn Brooke)

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Benedict Cumberbatch

SHAKESPEARE magazine 13

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Benedict Cumberbatch

16 SHAKESPEARE magazine

ldquoAnd yet to me whatis this quintessence

of dustrdquo [II 2]

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Even more than London there

is one place above all that is

green and pleasant landhellip

Words Helen Mears

Pictures Helen Mears and Susan Braund

Stratford-upon-Avon

SHAKESPEARE magazine 19

W e could be in any smallpicturesque Englishtown with its medievalchurch half-timberedTudor buildings shops

restaurants and delightful riverside walksBut Stratford-upon-Avon is not just any

town Itrsquos one of the best-known most- visited and probably most-loved locations inEngland Thatrsquos because itrsquos the birthplace of William Shakespeare Itrsquos also the place heseems to have considered his home After allShakespeare grew up there went to schoolthere and spent his final days there

So here is Shakespeare Magazinersquos on-the-ground guide to Stratford-upon-Avon Hereyoursquoll find hints and tips for first-time visitorsand returning aficionados alike What to see

the best ways to see it where to stay where toeat and how to get around while yoursquore there Are you ready Then letrsquos start our tourhellip

The BirthplaceSurely the must-visit spot for any self-respecting Bardolator this is where it all beganndash the six-roomed Merchantrsquos House on HenleyStreet where in April 1564 Mary Shakespeare wife of glover John gave birth to their famousson Williame house is approached

HOME

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20 SHAKESPEARE magazine

through the Shakespeare Centre on the left-hand side of the Birthplace A short exhibitionshows you items such as a prized First Folioand the foot of Stratfordrsquos Old Market Cross

from where glover John Shakespeare wouldhave sold his wares A walk through the gardens leads to

the house itself You enter through theself-contained annexe where William and Anne Shakespeare spent the first years oftheir married life and where their childrenSusannah Judith and Hamnet were born eannexe was later occupied by Williamrsquos sister Joan You can walk through the parlour andthe dining room to Johnrsquos workshop where heproduced gloves and other leather goods

A staircase leads to two bedrooms onefor the girls one for the boys and a loft spaceis visible where the apprentices would haveslept Finally you reach the birth room themain bedroom in which William and his sevensiblings were born

Guides are on-hand in all rooms to tell youtheir history and other gems of informationComplete your visit by watching classicShakespearean speeches performed in thegarden by resident acting troupe Shakespeare

Aloud and then picking up some souvenirs inthe gift shop and excellent bookshop

e five house ticket is the best value givingyou entry to all of the properties (HarvardHouse is a current alternative to New Place)and allowing you to view Shakespearersquos Gravein Holy Trinity Church

The Avon and Boat trips A walk along the Avon is a must in any seasone gentle stroll from the RSC to Holy Trinity

Church will take you past drooping willowssmoothly sailing swans and green parklandFor a diff erent perspective on the town you cantake a boat trip along the river itself Startingfrom near the RSCeatre you cruise gentlydown to the church where Shakespeare wasbaptised and buried before turning back andheading past the theatre and under CloptonBridge Itrsquos a bridge that William himself would have known built as it was around1480 e Avon is very pretty everywhere

you look are the incredible tame (and alwayshungry) swans and picturesque houseboatse banks are lined with weeping willows that just might have been the inspiration for poorOpheliarsquos watery end in Hamlet If you wouldrather take a slower self-driven trip there arerowing boats canoes and small speedboatsfor hire Beware though these are not aseasy to control as they look and you may wellspend a good proportion of your allottedtime relearning how to row and avoiding

Stratford-upon-Avon

The birth roomat ShakespearersquosBirthplace

Molly fromShakespeare Aloudin the Birthplacegarden

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SHAKESPEARE magazine 21

other hapless river tra ffic Boat trips typicallylast for around 40 minutes and are especiallypleasant in the late afternoon when the sun setsslowly behind the church steeple For addedluxury you can take a restaurant cruise where

afternoon tea or an evening meal are served onboard or as a quicker cheaper alternative youcould take the chain ferry across the Avoneferry dates from 1937 and is the last of its kindin the UK

Nash House and New Place

As well as the Henley Street property theShakespeare Birthplace Trust care for fourother locations in and around Stratford allassociated with Williamrsquos family Nash House

and New Place were adjoining propertieseformer was the home of Judith Shakespeareand her husband while the latter was thefamily home that William purchased in 1597at the time the second most expensive housein the town Sadly it was demolished by asubsequent owner but the Trust are currentlyundertaking a massive renovation of the siteis means that the properties will not be opento the public until 2016 to coincide with the400th anniversary of Shakespearersquos death

Hallrsquos Croft

A brief walk from New Place will take youto Hallrsquos Croft the home of SusannahShakespeare and her husband the physician John Hallis is an interesting property in its

own right and is partly set up to show how apractising physician would have worked at thetime A special mention too must goe Arterthe award winning independent craft shopadjoining the building and to the beautifulgarden in which open air performances ofShakespearersquos plays are sometimes performed

Stratford-upon-Avon

Holy TrinityChurch viewedfrom the Avon

Nash House andNew Place

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22 SHAKESPEARE magazine

Anne Hathawayrsquos Cottage A short distance from Stratford is Shottery where you can find the beautiful cottage

which was the home of the Hathaway familySet in yet another lovely garden this is thehouse in which Anne Hathaway grew upand was courted by the young William JohnShakespeare served with Anne Hathawayrsquosfather on the town council so their childrenprobably knew each other from a young agee family remained associated with thecottage for several centuries and have spunmany a yarn about the young lovers theveracity of which are highly questionable

However the stone floor of the kitchen isoriginal and we know that William must have walked those stones many many times

Mary Ardenrsquos Farme last of the Shakespeare properties is Mary Ardenrsquos Farm Shakespearersquos mother lived hereand itrsquos where she probably took the infant William when plague broke out in Stratfordshortly after his birth Open from March toNovember only the farm is run as a working

Tudor farm with costumed guides caring forthe buildings and the animals Itrsquos a great placefor a family day out with plenty to see and doand numerous activities runningere are

daily falconry shows archery animals to feedand games to play You can even treat yourselfto a genuine Tudor meal in the cafe ndash pottageand home-baked breads are a speciality

What if you donrsquot have a care town itself is fairly small and all themain attractions are within walking distanceHowever the easiest way to get around and toenable a visit to Anne Hathawayrsquos Cottage andMary Ardenrsquos farm is to the Hop On-Hop Off City Sightseeing busis will take you to allthe main town locations and also to Shotteryand Wilmcote A day ticket will give youunlimited access to the buses and allow you tovisit all of the Shakespeare properties e buscan be picked up by the statue of Touchstonethe jester at the top end of Henley Street

Walking Tours Another excellent way to see the main sites ofStratford and to learn some of the historicaltales of the town is to take a walking tour

Stratford-upon-Avon

Anne HathawayrsquosCottage

Mary Ardenrsquos Farm

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ere are several options depending on thetype of tour yoursquod likee town guides runhistorical tours of the town every day (yesevery day) of the year For those who like to be

a bit more daring there are evening ghost walksled by costumed guides who will tell you someof the spooky tales of Stratford Both of thesetours start from the Swan Water Fountain onthe riverside

Or if you like the idea of being guidedby Shakespeare himself on a Saturday (andMonday to Saturday through the summerholidays) there are town walks led by the manhimself (or someone who looks an awful lotlike him)ese run from Tudor World onSheep Street an interesting museum in thehouse that belonged to the man who wasallegedly the model for Sir John Falsta ff

Holy Trinity Church Another must-see is the townrsquos 13th centurychurch with its distinctive spire that dominatesthe view from the river Remember that if youhave a ticket to the Birthplace properties yourvisit to the grave is free e church is famousfor being where William Shakespeare wasbaptised on 26 April 1564 e old font that

was used for the baptism is displayed in thechancel along with copies of both the registerof baptism for April 1564 and the register ofburials for April 1616 where Shakespearersquosname can be clearly seen Also in the chancelin front of the altar are the Shakespeare familygraves Williamrsquos bears its infamous curse

ldquoGOOD FRIEND FOR JESUSSAKE FOREBEAR

TO DIGG THE DVST

ENCLOSED HEREBLESTE BE YE MAN YT SPARESTHESE STONES

AND CURSED BE HE YT MOVESMY BONESrdquo

On the wall above the grave is the effigy of

Shakespeare Itrsquos one of the few images which was produced within the lifetime of AnneShakespeare and probably one of the mostauthentic likenesses of her husband

The Guildhall and King EdwardrsquosSchoolDirectly opposite the site of New Place standthe Guildhall and the townrsquos old grammarschool Both of these places have links to theShakespeare family King Edwardrsquos Schoolis where the young William is believed tohave studied and itrsquos probably where hefirst encountered the classical texts which soinspired him As the son of a town councillorhe would have been entitled to a placee

old school is sometimes open to visitors at weekends or during the holidays but theschool has just won a lottery grant whichshould enable them to open it as a permanentattraction e Guildhall was sometimes hostto groups of travelling players and so it couldbe the site where young William first sawtheatrical performances It is widely believedthat John Shakespeare owing to his role astown bailiff was responsible for supervising the whitewashing of the medieval Doom Painting

Stratford-upon-Avon

SHAKESPEARE magazine 23

The GuildhallDoom Painting

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24 SHAKESPEARE magazine

Stratford-upon-Avon

is has been recovered and is now once againvisible above the chancel arch

The Royal Shakespeare CompanyTheatre and the riversidee riverside park is home to several interestingsights It is from here that you can get a view ofthe Clopton Bridge pick up a river cruise feedthe swans and admire the Gower Memoriale memorial was presented to the town in1888 and features a statue of Shakespeareseated upon a plinth overlooking statues offour of his best known charactersese areHamlet Prince Hal Sir John Falsta ff and Lady

Macbeth who represent Comedy HistoryPhilosophy and Tragedy Closer to the theatreis the beautiful Swan Water Fountain unveiledin 1996 If you see the water frothing fear notit seems to be a sport amongst local youngstersto fill the fountain with washing up liquid on aregular basis

e Royal Shakespeare Companyeatre was built in 1932 but has recently undergonea complete refurbishment in both the mainand the Swan theatres e building reopened

in 2010 with both theatres having beenconverted to boast thrust stages and curvedgalleries similar in shape to the originalElizabethan playhousese world renowned

Royal Shakespeare Company performshere throughout the year staging plays byShakespeare and his contemporaries as well asby newer authors ey also run an educationprogramme exhibitions family activitiesduring the school holidays and theatre toursTo see Stratford from an entirely diff erentangle take the lift up the 36 metre high towerfor spectacular views across the town

Where to eat and drinkStratford has an excellent range of eateriesto suit all tastes and budgets ere is pubgrub afternoon teas world cuisine finedining pizza pasta and fish and chips Manyrestaurants off er pre-theatre menus and ifyoursquove been on a town walk you may find thatyou can get discount vouchers for your foodere are many pubs in Stratford including theGarrick Inn the oldest pub in the town whereyou can taste the Shakesbeer specially brewedto celebrate Shakespearersquos 450th Birthday in2014 If you want to spot RSC cast members

relaxing after their showse Dirty Duck on Waterside is the place to drink

Where to stay Again Stratford-upon-Avon has a good varietyof hotels bed and breakfasts and holidayhomes All the main chains have hotels inthe town from budget brands to the luxurynamesere is an excellent choice of bedand breakfast establishments in and aroundthe town again these will suit all tastes and

budgets Airbnb also has an interesting rangeof rooms flats and houses to rent in StratfordHowever be sure to book early especially forthe prime summer months

The Shakespeare Birthplace Trustwwwshakespeareorguk

The GowerMemorial Will andPrince Hal

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M

any places around the worldhave been named afterStratford-upon-Avon thebirthplace and home of William

Shakespeare And many of those Stratfordsare home to theatre festivals of varying sizesStratford in the state of Victoria in Australiahas an annual Shakespeare festival still goingevery year while Stratford in Connecticut inthe USA had a major theatre from the mid1950s to the mid 1980s Stratford Ontarioin Canada however stands out among thesetowns and festivals not merely in scope but ininternational reputation and prestige

In 1950 Canada had no home-growntradition of classical theatre Certainly

Shakespeare was performed but there hadbeen a strong anti-theatrical movement inCanada throughout the 19th century whoseeffects still lingered throughout the first half ofthe 20th As a cultural icon Shakespeare wasedifying to be sure but certainly not to beperformed The Stratford Festival changed allof that for Canada

In the late 1940s the local newspapers andgovernment of the town conceived of the ideaof revitalising Stratfordrsquos sagging economy by

capitalising on the name of the town and its

long association with the Bard They bandedtogether and under the leadership of TomPatterson they brought over Tyrone Guthrieand Alec Guinness for the first season in1953 Guthrie had famously directed Gielgud

inHamlet

at Elsinore Castle in Denmarkand had been the manager of the Old Vic inLondon He wanted to create an acting spacethat echoed the original Globe theatre whereactors were surrounded by the audience incontrast to the proscenium arch theatres thatdominated the London and New York scenes

From the first performance which tookplace inside a giant circus-style tent on thebanks of the Avon River the festival workedto create a new aesthetic of Shakespeareanperformance The thrust stage of the FestivalTheatre designed by Tanya Moiseiwitschhas been recognised as one of the greatinnovations in stage design of the 20th centuryGenerations of actors have had to learn howto address an audience on three sides of themsometimes only an armrsquos length away

The festival has been central to the careersof Canadian actors such as ChristopherPlummer Martha Henry and even WilliamShatner Actors from the US and UK havesought to play the festival as well including

Peter Ustinov Christopher Walken and JessicaTandy Indeed these international stars notonly lend credibility but have indelibly markedthe festival For instance Maggie Smithrsquosperformance as Rosalind in As You Like It inthe 1977 and 1978 seasons is legendary in thecompany and the town

Today the festival has expanded to includemultiple performance spaces a theatre schooluniversity accredited courses and the largesttheatrical costume shop in North America

It has started countless careers inspiredcompanies such as Torontorsquos SoulpepperTheatre and helped shape the Canadiantheatre landscape for over 50 years

Stratford Festival ndash Ontario Canada

wwwstratfordfestivalca

MEANWHILE

IN CANADATherersquos more than just one Stratford you knowAnd the one in Ontario Canada has a world-renownedShakespeare Festival gives us a tour

Stratford Ontario

SHAKESPEARE magazine 25

ldquoFrom the fi rst performancethe Festival worked tocreate a new aesthetic ofShakespearean performancerdquo

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Planning to performa short selection

from Shakespeare

The 30-Minute Shakespeare

Anthology contains 18 abridged

scenes including monologues from

18 of Shakespearersquos best-known plays

Every scene features interpretive stage

directions and detailed performance

and monologue notes all ldquoroad testedrdquo

at the Folger Shakespeare Libraryrsquos

annual Student Shakespeare Festival

THE 30-MINUTE SHAKESPEARE is an acclaimed series of abridgments that tell the story of each play while keeping the beauty ofShakespearersquos language intacte scenes and monologues in this anthology have been selected with both teachers and students inmind providing a complete toolkit for an unforgettable performance audition or competition

NICK NEWLIN has performed a comedy and variety act for international audiences for more than 30 years Since 1996 he hasconducted an annual teaching artist residency with the Folger Shakespeare Library in Washington DC

The 30-Minute Shakespeare series is available in print and ebook format at retailersand as downloadable PDFs from 30MinuteShakespearecom

The 30-Minute Shakespeare Anthology

includes one scene with monologue

from each of these plays

ldquoLays the groundwork for a truly fun and sometimes magical

experience guided by a sagacious knowledgeable and intuitive

educator Newlin is a staunch advocate for students learning

Shakespeare through performancerdquo mdashLibrary Journal

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Roaslind Lyons

28 SHAKESPEARE magazine

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For UK artist Rosalind Lyons the Bard is a

constant presence in her creative life She tells

us how Shakespeare inspired the haunting and

dreamlike works that adorn these pages

Words and paintings by Rosalind Lyons

Rosalind Lyons

SHAKESPEARE magazine 29

Left TheRoaring Boys

PAINTINGSHAKESPEARE

S hakespeare has long been at the heart ofmy work sometimes directly and obviouslyin the subjects and often in the titlesBut always Shakespearersquos words charactersand stories are there in my head when Iam painting ndash a perpetual conscious andunconscious presence

My style echoes that of the Renaissancepainters and Elizabethan portraits andthese influences combined with a life-long love of Shakespeare made my firstvisit to Shakespearersquos Globe pivotal Iexperienced a powerful sense of connectionand recognition Here suddenly ideasand themes with which I had been so longpreoccupied were brought to life

I subsequently gained access to theGlobe to draw and later spent some time

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as Artist in Residence thereat experienceprompted more in-depth exploration notonly of Shakespeare and painting but of therelationship between painting and theatreere are of course the strong visualconnections ndash both are spaces for spectacleand illusion But also compelling ideas oftransformation imagination storytelling andidentity And overall the theme of ambiguitye blurring of boundaries between realityand fiction male and female light andshadow past and present I am fascinated byhow we respond to history how we re-presentand re-imagine the past And the figures inmy paintings are imagined as belonging toboth now and then ndash flitting back and forthacross the threshold between past and presentbetween Shakespearersquos time and our own

modern worldI have painted some specific characters

from Shakespeare but many subjects ofmy paintings are anonymouse figuresare unknown their place purpose role is amysteryis anonymity is unsettlingereare clues in the setting in the costumes ndash orperhaps I should just say in the clothes theyare wearing ndash but the context is not obviousI am fascinated by the dramatic convention ofcross-dressing ndash and particularly the inherent

confusion as with Rosalind ( As You Like It )and Viola (Twelfth Night ) in the idea of aboy playing a girl playing a boy Many of thecharacters I invent are androgynous theirgender and age uncertainis ambiguityof identity interests me in the context ofvisual illusion and theatrical transformationthe idea of inbetween-ness and somethingunresolved

Like theatre my paintings are concerned with inventing characters and the creation

Right No MoreYielding But A

Dream

Roaslind Lyons

30 SHAKESPEARE magazine

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of an imaginary world and I am particularlyattracted to the fools fairies and witchesIn A Midsummer Nightrsquos Dream the fairiesrsquoactions may seem malevolent or benign or just mischievous but there is definitely a dark

side an underlying sense of threate Fool too is intriguing Shakespearersquosfools frequently describe themselvesor are referred to as a nobody but areunquestionably much moree fool is anoutsider concerned with but at the same timeseparate from the story He ndash or sometimesshe ndash doesnrsquot quite belong anywhere butseems to exist on the boundary between thefamiliar and the uncanny

I am attracted to the strange to mysteryand shadows and try to express through myimages a strong feeling that it could be thator maybe something else As Orsino says atthe conclusion of Twelfth Night ldquoA naturalperspective that is and is notrdquo While makinga painting and even when it is finished Idonrsquot know really who my characters are ndashthey remain elusive But I like not knowingand ultimately meanings always change anddepend on individual perceptions

My experience at the Globe led to aparticular fascination with the ambiguous and

protean quality of the theatrical performerhow their identity transforms and fluctuatesI was attracted by this when watching

Rosalind Lyons

SHAKESPEARE magazine 31

Above A MidwinterNightrsquos Dream

Right Three Fools

Far right FollowingDarkness

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rehearsals observing actors shift between selfand impersonation between diff erent realitiesand identities When they are not acting theyndash metaphorically and often literally ndash melt

into the shadows I am interested too in thephysical and symbolic threshold between lsquoonrsquoand lsquooff rsquo-stage the transformation inherentin an actor moving from the wings onto thestage assuming another self and anotheridentity Particularly evocative is the fact thatactors were colloquially known as shadowsin the Elizabethan playhouses ndash suggestingsomething unknowable and insubstantialIn the Prologue to Henry V Shakespeare hasthe Chorus describe the players as lsquociphersrsquoimplying deception and secrecy

Artists in the past who have tackledShakespeare have generally produced imagesthat directly illustrate the text or representfamous actors or scenes from a particularperformance Today as well as on the stageShakespearersquos plays are frequently re-imaginedin very successful film and TV adaptationsbut I have struggled to find more than ahandful of contemporary fine artists whohave engaged with Shakespeare on any levelPerhaps Shakespeare as a subject is seen

by some as too traditional too lsquopopularrsquoor simply just too lsquooldrsquo But in the theatreand in literature there is an ever-increasingenthusiasm for innovative interpretationsof the plays and for me Shakespeare is aconstant inspiration

e Prologue of Henry V also urges theaudience to ldquoPiece out our imperfections withyour thoughtsrdquo to liberate the imaginationand create another kind of reality to shapeour own fantasies within the ldquowooden Ordquo of

the theatre In my paintings I endeavour todo the same

Explore the work of Rosalind Lyons atwwwrosalindlyonscom

Above These Two CreaturesBelow Therersquos Magic In Thy Majesty

Roaslind Lyons

32 SHAKESPEARE magazine

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$amp( ) +-01

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Aidan OrsquoReilly

34 SHAKESPEARE magazine

Looking forRichard AidanOrsquoReilly is playingShakespearersquosbaddest monarch

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Aidan OrsquoReilly

SHAKESPEARE magazine 35

You are legally blind having been

diagnosed with retinoblastoma as an

infant How did this impact on your

acting aspirations and early career

ldquoMy parents did a good job raising me Inever grew up thinking of it as a handicap orthinking it could hold me back from what I wanted to do I couldnrsquot play sports at all soI think my parents were grateful that I hadsomething that I was passionate about from avery young age

ldquoI went to a public elementary school with a program designed for the blind so itfelt very natural for me to be the way that I was And acting has always been part of thatrdquo

You went to RADA in London Was

there a reason why you wanted to

train in England and not in the US

ldquoItrsquos always been an ambition of mine to

travel as far and wide as possible Also myhero growing up was Peter OrsquoToole ndash Iread his autobiography in high school andlearned he had gone to RADA and decided I wanted to go there too So I auditioned therenot knowing that RADA is arguably thebest drama school in the English-speaking world Consequently I was quite relaxed atthe audition which is probably why I gotin My ignorance can sometimes serve me well Going to RADA was a life-changing

Aidan OrsquoReilly is an actor with an

inspiring story Legally blind since he

was six months old he forged a passionfor drama at an early age Aidan went

on to gain a BA with honours from

Londonrsquos Royal Academy of Dramatic

Art before touring for three years with

the American Shakespeare Center

In 2012 Aidan was diagnosed with

sarcoma a rare cancer He bounced

back in 2014 after intensive treatment

and is now cancer-free We spoke to

Aidan as he prepared to play the title

role in Richard III for Californiarsquos Marin

Shakespeare Company We asked himto share his story and to give us his

take on one of Shakespearersquos most

fascinating characters

Interview by Jen Richardson

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Aidan OrsquoReilly

36 SHAKESPEARE magazine

experience I was lucky enough to havecontact with brilliant professors and Irsquom stillin awe of the students I went to school withI wouldnrsquot trade that experience for anythingrdquo After graduating from RADA you

went on the road with the American

Shakespeare Center Tell us a bit

about that

ldquoThat was one of the happiest times of mylife In many ways I got spoiled I was a working actor 11 months out of the yeartouring nationally seeing parts of the USI had never been to before doing plays Iloved and working with directors who werevehemently faithful and respectful to the text When I wasnrsquot on the road I was in residenceat the Blackfriars Playhouse in StauntonVirginia with many extraordinary actorsI was very lucky to be thererdquo

Three years ago you were diagnosed

with sarcoma How did you

overcome this enormous challenge

and return to the stage in 2014

ldquoThe only reason Irsquom still alive is because ofmy mother Lily and my wife Jocelynn AlsoI was fortunate that we caught it before it hadspread and it was on my leg and away fromany major organs

ldquoI am very grateful for my team of doctorsat UCSF who did an incredible job in mytreatment and follow-up care Irsquom glad to beback to workrdquo Yoursquore now due to play Richard III

with Marin Shakespeare Company

Howrsquos it going so far

ldquoAt this point Irsquom in the paperwork stage

of things A lot of reading the HenryVI s biographies of Richard as well asperformance history of the play itself Irsquomdoing a fair amount of limping around myapartment as well I canrsquot wait to get intorehearsals next weekrdquo Tell us about Marin Shakespeare

Company and what appealed to you

about working with them

ldquoRobert and Lesley [Currier MSCrsquos Artistic

Director and Managing Director] arefascinating people Their intelligence andhumour is contagious Without questionthere is a lot to be learned from themrdquo Richard IIIrsquos remains were discovered

in 2012 and reburied this year Is all

the new information about Richard

influencing your portrayal

ldquoYes and no My job isnrsquot to play the historicalRichard but the Richard that Shakespeare has

Aidan believesthat Richard IIIrsquosobsession withcontrol is whatcauses his downfall

ldquoPeter OrsquoToole wasmy hero He went to

RADA so I wanted to go there toordquo

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Crowning gloryAidan with MarinShakespearersquosRobert Currier

created Itrsquos helpful to know the facts of thesituation in order to gain insight into whathas been changed in Shakespearersquos versionof events

ldquoI met with a friend of mine who is a

retired surgeon who walked me through themedical information that has come to lighton Richardrsquos body and I will certainly usethat to inform my physical choicesrdquo Unlike many actors yoursquore the right

age to play the historical Richard III

Do you feel Richardrsquos relative youth

has been overlooked

ldquoI do Richard is a young man who believeshe is hardened by the experiences he andhis family endured during the War of theRoses and believes himself to be beyondhuman emotions and the lsquorestrictionsrsquo of aconscience He isnrsquot He pays the bill for thehorrible things he does That lack of self-knowledge is not exclusive to youth but I feelit makes him more sympathetic and relatableto an audiencerdquo Some people think Richard III shows

Shakespeare delivering a highly

effective piece of Tudor propaganda

Where do you stand on thatldquoI think Shakespeare has a soft spot foroutsiders and underdogs Although his playssometimes work within the confines of thebiases of Elizabethan society he canrsquot help butmake his lsquovillainsrsquo fascinating human beings

For as horrible as Richard is itrsquos amazing tosee how audiences relate and respond to himrdquo Which other important themes do

you feel Shakespeare deals with in

the playldquoThe history plays are full of extraordinarypeople who waste their lives and intelligence who sacrifice their humanity in pursuit of thecrown Itrsquos still happening today What is theattraction of power Richard never pauses tothink of why he wants the crown or if hersquodbe any good as king Turns out hersquos not butitrsquos this bizarre obsession with control thatpropels him to kill everyone off thatrsquos in his way Itrsquos also fascinating that the one characterthat is consistently kind to Richard is hisfather York

ldquoI think an argument can be made thatRichard in his warped way is trying to liveup to the image he has of his father Ofcourse York is dead and gone by the timeRichard III begins but you can glean a lotabout Richardrsquos inner workings in the way hespeaks about his father Of course itrsquos foolishto try to answer questions that Shakespearedoesnrsquot and Irsquom not trying to say this solvesa mystery but I think itrsquos interesting Itrsquos only

an element itrsquos not the answerrdquo Richard III is listed as a historical

play in the First Folio but in the

quarto edition it is termed a tragedy

Which category would you put the

play in and why

ldquoI think of the history plays from Richard II to Richard III as one vast play an epic thatencompasses all the categories I think if youlook at Richardrsquos progression through those

plays you see a great mind warped by the War of the Roses and that certainly adds tothe tragic element I think of Richard III asthe final chapter of a great epicrdquo

Aidan OrsquoReilly stars in Marin ShakespeareCompanyrsquos Richard III from 4-27 September

Aidan OrsquoReilly

SHAKESPEARE magazine 37

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Scotland Shakes

SHAKESPEARE magazine 39

Bonnie Prince

Brian Fergusonas Hamlet in theCitizens Theatre

production Photoby Tim Morozzo

Billy William Shakespeare is undoubtedly Englandrsquos

Bard But how is he viewed north of the border

Our Caledonian correspondent surveys the state

of Shakespeare in Scotland and meets esteemed

outdoor theatre company Bard in the Botanics

Words Paul F Cockburn

T owards the end of May thisyear a BBC Scotland afternoon

news bulletin surprisinglyturned its attention to aforthcoming production of

ldquoone of William Shakespearersquos best lovedplaysrdquo ndash A Midsummer Nightrsquos DreamHowever this particular production wasnrsquotconsidered newsworthy because it came froman amateur group based in Dumfries andGalloway Not even that the CrossmichaelDrama Club were one of just seven amateurScottish groups taking part in the Royal

Shakespeare Companyrsquos Open Stages project which aims to help amateur companies

extend their repertoiresNo the lsquohookrsquo was how this newproduction was Shakespeare ldquobut no asyou micht ken itrdquo Because it had beenreimagined in Scots as A MidsimmerNichtrsquos Dreme

As it happens writer John Burns saysthat his principle reason for translating AMidsimmer Nichtrsquos Dreme was simply theintuition that it being in Scots would workto the benefit of the production ldquoItrsquos not

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Scotland Shakes

40 SHAKESPEARE magazine

so much that 16th century English canrsquot docertain things more that using Scots brings itcloser to a Scottish audience and to audiences who might think Shakespeare too fancyrdquo hesays ldquoI feel too that Scots can catch the sheerphysical power of Shakespearersquos language He writes lines you really feel physically when

you say them out loud My intention was touse Scots to produce a text that was actableand which would be accessible and enjoyablefor the audience and the Scots was a majorpart of thatrdquo

Arguably translating Shakespeare intoScots ndash viewed by many as a distinct languagefrom English ndash is just one way of finding thecontinued relevancies of Shakespearersquos writing with the here and now Certainly John Burns was keen to see if Scots ldquocould match the way

Shakespeare switches tonehellip from broad attimes bawdy humour to moments that aremore serious or even sinisterrdquo

Yet there is a wider perspective whether wersquore discussing translation into Scots orsaying Shakespearersquos words with a Scottishaccent Willy Maley and Andrew Murphyin their introduction to Shakespeare andScotland (published by Manchester UniversityPress in 2004) go as far as describing thetranslation of Shakespearersquos Macbeth into

Scots as ldquoa patriotic actrdquo not least becauseof ldquothe political commitment implicit intranslating from English to Scots reversing

the dominant dubbing practice infi

lmsrdquoGlasgow-based novelist and playwright Alan Bissett ndash who actively campaigned fora Yes vote during last yearrsquos IndependenceReferendum ndash has since written about howsince the 1970s Scottish theatre had ldquoadeep engagement with the shifting beastof Scottish politicsrdquo Although Bissett wasfocusing primarily on original works byScottish playwrights and directors itrsquos worthpointing out that Shakespeare ndash despite therebeing absolutely no evidence to prove he evertravelled north of Carlisle ndash has played hisown part in this

As Maley and Murphy point outldquoScotlandhellip never had precisely the samerelationship with the Bard as England hasbut has experienced a fraught process ofappropriation incorporation and resistancerdquoIn part this is because Shakespeare ndash in hislatter career ndash was among the first lsquoBritishrsquo writers Many of his later plays ndash Cymbeline King Lear even Hamlet ndash were produced

A tartan-cladAntipholus andDromio in Bard inthe Botanicsrsquo TheComedy of Errors

Brian FergusonrsquosHamlet CitizensTheatre productionPhoto by TimMorozzo

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under the patronage of Scotlandrsquos King JamesVI (aka James I of England) Each in theirown way can be said to touch on ldquothe matterof Britainrdquo the complex relationship between

the constituent elements of Jamesrsquos newlsquounitedrsquo kingdom which the Stuart monarch was determined to see joined into oneat never quite happened of course

Even after the 1707 Act of UnionScotland retained its own legal educationaland religious systems along with anaccompanying sense of Scottish identity ndash which survived even the height of the Britishempire Yet from the 1970s on there havebeen notable changes in how Shakespeareis treated by Scotlandrsquos producing theatrecompanies Several years ago GlasgowrsquosCitizenseatre delivered a powerful Romeoand Juliet in part because of their decision toset the action in a present-day sectarian Westof Scotland ndash with accents to match

ldquoEnglish-accented Shakespeare carriesa specific resonance in Scotland one thatdirectors usually choose to avoidrdquo pointsout Mark Fisher a freelance journalist criticand author of the forthcoming book How toWrite Abouteatre

ldquoIrsquom not sure exactly when attitudesstarted to change but Irsquod say the argumentin favour of Scottish-accented productionshad been pretty much won by the 1990sBy that time companies such as Raindogand directors such as Hamish Glen hadbeen making a point of casting very Scottishproductions of Shakespearerdquo

One example of how things hadprogressed even by 1992 was the late KennyIrelandrsquos production of A Midsummer

Nightrsquos Dream his first as Artistic Directorat Edinburghrsquos Royal Lyceum ldquoHe castthe mechanicals with Scottish accents andeveryone else with English accentsrdquo MarkFisher explains ldquois I said in my review wasa fundamental error ndash or some such phrasee message it sent out was that people withScottish accents were foolish figures of fun whereas people with English accents wereserious figures of respect

ldquoIreland reacted furiously to my review

and made the case that he had based thecasting of the mechanicals around (the actor) Andy Gray who has a Scottish accent Inother words the meaning I inferred hadnot been deliberate I think itrsquos true to sayhowever that Ireland never cast a Shakespearelike that againrdquo

Gordon Barr is Artistic Director of

Glasgow-based Bard in the BotanicsScotlandrsquos only professional Shakespearecompany (see following pages)

ldquoWersquove never gone out of our way tomake Scottish versions of these texts norhave we gone out of our way to have classicaltraditional voicesrdquo he says ldquoMost of our coreactors have made their careers up here so wethink of them as Scottish actors

ldquoat is important to us to not overlylook outwards for the acting company As

much as possible we work with people who are based in Scotland Wersquore regularlyproducing Shakespeare here and we want tobe a part of the training to ensure that there isa range of strong classical actors hererdquo

Citizens Theatrewwwcitzcouk

Owen Whitehawas the Fool andDavid Hayman asLear in CitizensTheatrersquos King Lear Photo by TimMorozzo

Scotland Shakes

SHAKESPEARE magazine 41

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Bard in theBotanicsrsquo As You Like

It takes Rosalind andOrlando into theopen air

ldquoTouring is something that we have wanted to do foryears but was somethingthat we could not afford

to do without fundingrdquo says Gordon Barr Artistic Director of Scotlandrsquos only professionaloutdoor Shakespeare festival Bard in theBotanics If therersquos any irony attached tothe companyrsquos first major tour of Scotland which took place in early 2015 itrsquos that theperformances of their acclaimed Romeo and Juliet ndash featuring a cast of five ndash were playedexclusively indoors

ldquoNobody is touring classical theatre in

Scotland at the minute so itrsquos importantto usrdquo Barr adds ldquoOur work is so muchabout accessibility One of the joys of beingoutdoors is that people come to see the work who wouldnrsquot buy a ticket for a theatre Ifyou can bring a picnic sit out on the grass while watching the show it feels easier moreaccessible But people canrsquot come from Thursoto Glasgow for a night just to see a productionof Shakespeare They should be able to see itin Thurso So that is kind of where the urge totour came fromrdquo

Bard in the Botanics has presented outdoorShakespeare within the grounds of GlasgowrsquosBotanic Gardens since 2003 This yearrsquoslsquoUnlikely Wondersrsquo season presented newproductions of Loversquos Labourrsquos Lost The Merchant of Venice Richard II and A Midsummer Nightrsquos Dream in lsquoreprsquo between24 June and 1 August

The companyrsquos founder Scott PalmerBarr explains had done a lot of his training atthe Oregon Shakespeare Festival one of the

biggest in North America ldquoWith the kindof drive and enthusiasm that only Americanshave he managed to convince the entire cityof Glasgow that outdoor Shakespeare would work and that the weather wasnrsquot going to be

a problemrdquoTwo years later Palmer moved on and Barr

ndash originally involved as a director ndash succeededhim as Artistic Director ldquoIf anyone then hadsaid that I would end up spending 12 yearsrunning an outdoor Shakespeare festival I wouldnrsquot have believed themrdquo he says in hisoffice hidden behind some of the Botanicsrsquogardening sheds ldquoI very quickly fell in love with it once I started working here Despiteall the trials and tribulations that outdoortheatre in Scotland brings with it therersquos just

something magical and special about it Itrsquos a very close-knit company and thatrsquos sort of keptus all here as long as we have beenrdquo

While the annual summer season ofShakespeare plays in the Botanics will remainat the centre of what the company does ndashldquoOtherwise Bard in the Botanics becomesa rather strange namerdquo ndash Barr is very much

Outof theGarden

This year has seen Glasgowrsquos Bard in the Botanicsdo something completely unexpected They wentout on a tour of ndash whisper it ndash indoor venueshellip

Scotland Shakes

42 SHAKESPEARE magazine

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Scotland Shakes

SHAKESPEARE magazine 43

focused on building on the touring side ldquoBecause it was our first ever tour we

did end up taking Romeo and Juliet to theestablished Scottish touring circuitrdquo he addsldquoIt takes a while to build up relationships with the smaller venues thatrsquos going to bean ongoing process for us Even so we weretaking Romeo and Juliet to places like Mulland Stranraer ndash communities and venues thathavenrsquot had a lot of classical theatre comingthrough themrdquo

The choice of play was deliberate too ldquoIt was a production that was ready to go whichhad received five star reviews and sold out itsextended run in the Botanics in 2012 So weknew that the work was good but therersquos nodoubt that for a first tour we wanted to makeit easier for the venues to sell it Most venuesknow they can find an audience for Romeo and Juliet rdquo

In time he hopes that audiences aroundthe rest of Scotland will come to trust the Bardin the Botanics name sufficiently to take on theless familiar plays

ldquoYou just donrsquot know how quickly acommunity is going to turn out for Henry IV yetrdquo he says ldquoHopefully three or four toursdown the line theyrsquore going to turn out forBard in the Botanics ndash and if it happens to be

Henry IV well thatrsquos greatrdquoGiven their reimagining of A MidsummerNightrsquos Dream as a 1920s burlesque musicalis there a particular Bard in the Botanicsapproach to Shakespeare

ldquoOur kind of unofficial motto is lsquoBe BoldBe Braversquordquo Barr says ldquoIf wersquore continuingto stage these plays around 400 years afterShakespearersquos death I think therersquos an urgencyto ask lsquoWhyrsquo It is important to questionlsquoWhat is the story that we want to tellrsquo I wantto see how these plays intersect with historyand todayrsquos society not to present museumpieces

ldquoItrsquos always with an eye to try to releasesomething thatrsquos within the textrdquo Barrinsists ldquoWersquore not remotely interested ininnovation for innovationrsquos sake The playsare masterpieces thatrsquos essentially why wersquorestill doing them 400 years later But to revealsomething thatrsquos unexpected or new thatrsquosimportant to usrdquo

Bard in the Botanics

wwwbardinthebotanicscouk

Rosalind and Audreyin the forest Bardin the Botanicsrsquo As You Like It

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Shakespeare at the Tobacco Factory stf 2016 Seasonco-production with Tobacco Factory Theatres

HAMLETBy William Shakespeare

Directed by Andrew Hilton

Main run Thu 11 February ndash Sat 26 March 2016

In repertoire with Allrsquos Well That Ends WellMon 25 ndash Wed 27 April Sat 30 April 2016

The most famous play in world drama Hamlet

turns a new face to every decade So many

elements - political madness sex murder ndash all

brought together in a drama that is both a thriller

and the profoundest meditation on our human

condition

ldquoThrilling workrdquo The Guardian on Romeo amp Juliet

ldquoBullseyerdquo WhatsOnStage on Romeo amp Juliet

Shakespeare at the Tobacco Factory Friends Priority Booking opens Wed 23 September 10am

wwwstf-theatreorguk

Tobacco Factory Theatres Members Priority Booking opens Wed 16 September 10am

wwwtobaccofactorytheatrescom

Public Booking opens Wed 30 September 10am

Tobacco Factory Box Office 0117 902 0344

ALLrsquoS WELL THAT ENDS WELLBy William Shakespeare

Directed by Andrew Hilton

Main run Thu 31 March ndash Sat 23 April 2016

In repertoire with Hamlet

Thu 28 ndash Fri 29 April Sat 30 April

A young woman using skills bequeathed herby her father saves the French Kingrsquos life and

is rewarded with the right to choose her own

husband But what if the chosen one wonrsquot play

the game How can she get him into bed How

can she make him love her

ldquo There is something approaching real

magic hererdquo The Arts Desk on The School for Scandal

P h o t o s M

a r k D o u e t

Dorothea MyerBennett in Richard III

Benjamin Whitrowand Julia Hills in The

School For Scandal

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Having conquered

Hollywood and vanquished

the global entertainment

industry video games now

on our culture So where

does the Bard stand in all of

this We sent a Shakespeare

scholar to investigatehellip

Words Andrew Bretz

Shakespeare video games

46 SHAKESPEARE magazine

T eGamersquos A oot Silent Hill is one

big-name gamewhich includesShakespearereferences

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Shakespeare video games

SHAKESPEARE magazine 47

German cardboard Macbeth datingfrom the early1800s

Hamlet reimaginedRyan Northrsquos To Be

Or Not To Be

W

hen you walk intothe wood panelled Victorian Gothicismof the Gail Kern Paster

Reading Room at theFolger Shakespeare Library in WashingtonDC video games are probably the lastthing on your mind Buried deep withinthe archives however are a set of fragilecardboard figures printed in Germany in theearly 1800s representing each of the maincharacters of Macbeth

Nineteenth century German children would play with these figures on smallcardboard stages no bigger than a dollhouseey could replicate the story as it was toldin Shakespeare or use their imagination tochange the ending letting Lady Macbethsurvive and bringing Duncan back from thedead if they so chosee limits of the game were the limits of their imagination

Today the lsquogamificationrsquo of Shakespeareis a big business from Ryan Northrsquos choose-your-own-adventure edition of Hamlet To Be Or Not To Be to IDW Gamesrsquosupcoming Kill Shakespeare board gamebased on the comic of the same name

Gamifying Shakespeare is filtering intoschools libraries and the theatrical worldas well with the University of California atDavis the Stratford Festival in Ontario theGlobeeatre in London and the LondonMetropolitan Archives all experimenting with video game elements in exhibits productionsand research

Why video games In a sense this is thelogical next step in the media development ofShakespeare Hersquos everywhere in other media

books movies merchandise But videogamese answer for that depends on whoyou ask

StorytellingOccasionally individuals or publishinghouses develop video games that try to tellthe story of say Hamlet yet this is relativelyrare One example would be Elsinore a time-looping narrative adventure game set in the world of the play Players play the game as

Ophelia who wakes up knowing that in fourdays the entire court will be dead and shemust do something to stop ite problemis that she is stuck in a time loop reliving thesame four days over and over againat said Shakespearersquos presence in the

video game industry tends to be focused oncitation rather than adaptation of the playsat is video games for Xbox Playstationand other popular gaming systems often

just cite Shakespearersquos plays as a part of acommon cultural heritageese games donrsquotrestage say Hamlet but they quote the playIn these cases Shakespeare is used to establisha point of identification for the audience His writing tells the audience something aboutthe character or the situation

Given that audiences are supposedto be able to identify the quotations asShakespearean it is unsurprising that Hamlet is the most popular text for game designers to

cite Ine Elder Scrolls Online for instancea merchant NPC (non-player character)quotes Polonius when players interact sayingldquoNeither a borrower nor a lender berdquoe words establish the NPCrsquos role as a merchant while fitting the medieval world of thegame In the game LA Noire upon pickingup a fake shrunken head at a crime scene adetective leaps into high melodrama withldquoAlas poor Yorick I knew him Horatiordquoequotation and the clever voice acting establish

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Shakespeare video games

48 SHAKESPEARE magazine

the characterrsquos strait-laced yet macabre senseof humour

Sometimes citing Shakespeare is a partof a critique of a larger theme In the game Mass E ff ect the Elcor are a race of elephantinealiens who preface all statements with adescription of the emotion they are feelingand who speak in a slow monotonous drone As players interact with the expansive worldthey can discover a number of advertisementsfor an all-Elcor Hamlet e idea of theElcor actor ndash the ultimate in a flat woodenperformer ndash having to preface ldquoTo be or not

to berdquo with ldquomorose ruminationrdquo goes beyondthe simple humour of a bad Shakespeareperformance It subtly asks what it is aboutacting (and especially voice acting) that isvaluable

Shakespeare can appear in video gamesnot merely as a marker or contextualisationtool but as a part of a puzzle For example inthe game Silent Hill 3 players must arrange aset of Shakespeare anthologies on a bookshelfin an abandoned shopping mall in order to

proceed in the game At the hardest levelthe puzzle clue takes the form of a poemthat references all the major tragedies Romeoand Juliet King Lear Macbeth Othello andof course Hamlet e bloody nature of thetragedies fits with the bloody nature of theSilent Hill series of games which fall into thesurvival horror genre

Popular video games have also servedas the inspiration for games that engage with Shakespeare in a more direct way For

example Daniel Fischlin at the Universityof Guelph in Ontario Canada led a teamthat created a Flash game called rsquoSpeare Itrsquos

a scrolling arcade-style game suggesting thersquo80s hit Galaga which sees players identifyingand navigating through a series of enemies who turn into words upon being destroyede player progresses through the levelsby collecting the correct words to createShakespearean quotes learning Shakespeareantrivia along the way

ImmersionOne of the most exciting aspects of videogames is the ability to immerse the player inthe world of the game in a way that othermedia simply cannot do Being able to walkaround Prosperorsquos cell Julietrsquos balcony orto stand before the ghost of Hamletrsquos fatheras he cries out ldquoList list O listrdquo ndash theseexperiences are made possible through videogame technology

Students of Scenic Arts at the Universityof Hildesheim in Germany created Projekt ARIEL or SturmMOD in 2008 using a lsquomodrsquo(or modification) to the engine that runs

the game Far Cry 1 e performance artproject allowed users to experience Prosperorsquosisland interacting with certain parts andexploring others Players could walk aroundan imaginative rendition of Prosperorsquos cell and witness or interact with elements of the playincluding diff erent characters like CalibanProspero and Miranda

Four days to savethe Danish court

Elsinore

Another Hamlet reference this timein LA Noire

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Shakespeare video games

SHAKESPEARE magazine 49

Gina Bloom at the University of Californiaat Davis is presently spearheading a projectthat will be demonstrated in the lobby of theStratford Festival theatre in Ontario Canadathis summere project Play the Knave AShakespeare Performance Videogame lets usersdesign a virtual performance space and thenperform a scene from a Shakespeare playinhabiting this constructed space with anavatar As a Davis insider explains ldquoWe use akinect motion capture camera to capture theuserrsquos skeletal data so that players use theirentire bodies to control their avatarrsquos gesturesonscreen all the while reciting the lines from

Shakespearersquos scenerdquo is literally immersesthe players in the scene

Shakespearersquos Globe eatre in Londontook another tactic regarding immersionin the production of the game HemmingsrsquoPlay Company Hosted on the Playgroundportion of the Globersquos website and thusaimed at an audience of children the gamehas players taking on the role of Hemmingsan Elizabethan bear who leads a troupe oftheatrical animals such as Kit the Cat Dekker

the Dog and Slye the Foxe turn-based game leads players through

the vagaries of Elizabethan theatre practicefrom patronage to lost props and the plagueBy the end of the game players must earnenough money to rebuild the Globe after itburns down during a performance of HenryVIII

Also from Shakespearersquos Globe are twoinnovative video experiences created forchildren aged five to 11 e first Exploring

Shakespeare features two boys on a tour ofthe Globe theatre who sneak off to explorebackstage e video illustrates four plays

using short animations that are keyedto things the boys find backstage etechnology combines live action film andanimation to create an interactive touchablegame Filled with mini-games quizzes andinteresting facts about Shakespeare the gameallows players to click through the narrativeor to stop and learn more as they go along

e second video called Staging It usesthe same technology as the first film but thistime is for the 11-16 age group In this gamee Globe has filmed two actors performingfamous duologues from A MidsummerNightrsquos Dream and Macbeth on the Globestage Rather than shoot it once the actorshave performed their lines in diff erent ways(happy flirtatious defensive and so on)creating several diff erent clips per linePlayers can watch each of the clips and addtheir choice to a dynamic storyboard tobuild up their final scene Impressively theplatform allows for up to 1000000 diff erentcombinations of clips

Apps and Mini-GamesItrsquos when you start to look outside of therealm of popular video game platformslike Xbox or Playstation that Shakespeare

Silent Hill 3 Brush upyour Shakespeare ifyou want to survive

Hemmingsrsquo PlayCompany fromShakespearersquosGlobe

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Shakespeare video games

50 SHAKESPEARE magazine

really starts to pop up wherever you looke ubiquity of Shakespeare is especiallynoticeable when you start to look at apps andmini-games designed for phones and tablets

In 2012 Big Fish Games released aniPhone and iPad game called Hamlet that featured all the main characters ofShakespearersquos play but transposed them intoa save-the-princess narrative puzzle game A time traveller lands in Denmark andaccidentally kills Hamlet and so players mustcomplete his journey for him saving Opheliaand killing Claudiuse Shakespeareancontent is minimal and heavily adapted andyet it fits with the puzzle format in whichShakespeare tends to be found in videogamese Chronicles of Shakespeare Romeo amp

Juliet ande Chronicles of Shakespeare A Midsummer Nightrsquos Dream are lusciously-illustrated puzzle games for the PC In themplayers act as one of the characters from theplays gathering items and clues through aShakespearean environment

Among the literally thousands of appsrelated to Shakespeare that can be found forthe iPad or Android tablet are

e Shakespearean Insult Creator which generates invectives drawn from a wholly Shakespearean vocabulary So nexttime you want to call someone a jerk trysomething more like ldquoou fusty follyfallenfustilarianrdquo

e Shakespeare Translator whichtranslates ldquonormal English words and phrasesinto the words of Shakespeare himselfrdquo

e Shakespeare Fortune Cookie which provides short quotes from the plays

and a small trivia game Shakespeare or Die a game that

scrambles the words of famous quotationsfrom the plays and asks you to identify theplay and character who spoke the line If youmake a mistake however beware the witchesese apps are either explicitly games or

they are coming out of a game-like impulse tomake Shakespeare more accessible to everyone with an internet connection

Brave New WorldsIn a world where Shakespeare is an industrycounted in the millions of dollars per yearit is so easy to forget that Shakespearersquos playsare just that ndash playsere is a sense of joyand fun and happiness embedded in theexperience of watching them Games are oneof the ways that people over the centuries

have tried to recapture that elusive sense ofplayfulness within Shakespeare So it makesperfect sense that now with the advent ofdigital technologies Shakespeare is movinginto the digital world with a vengeance

From big studio games likee ElderScrolls to small apps that can be downloadedfor free from talking bears to immersiveperformance experiences Shakespeare iseverywhere in video games Rather than beingan undiscovered country into which the Bard

is only just beginning to emerge games havein fact engaged with Shakespeare and his works for hundreds of years And they willprobably continue to do so for hundreds ofyears to come

rsquoSpeare is a scrollingarcade-stylegame with addedShakespeare trivia

Hamlet is aShakespeare-themed puzzle fromBig Fish Games

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Meet thy makers

Helen Mears fell into bardolatryduring her teenage years and has

never recovered She is a volunteersteward at Shakespearersquos Globe

which ensures a regular diet of theBard She teaches English Film andMedia at Suffolk New College and isa specialist in teaching Shakespeareusing active methods Her favouriteShakespearean actor is Jamie Parker

and her favourite plays are the SecondHistory Tetralogy She hopes to

finish her Masters in the AdvancedTeaching of Shakespeare very soonFind her on Twitter hipster_hels

Paul F Cockburn is an Edinburgh-based freelance magazine journalist who specialises in writing about

arts and culture equality issues andpopular science Hersquos sufficiently

grey-haired for his English Literaturetraining to have sort of overlapped

with The BBC Television Shakespeareproject saving at least some of the

plays from death by academiaFind him on Twitter paulfcockburn

Jen Richardson first fell in love withShakespeare as a 15-year-old schoolgirl

ldquoHe got under my skin and hersquos still theretodayrdquo After training with a Manchester-based drama tutor she went on to pursuean acting career Drama remains a greatinterest but her focus is now on sharing

her passion for Shakespeare throughher writing In her spare time Jen is

generally down in Stratford-upon-Avonsitting on her favourite bench behind

Holy Trinity ChurchFind her on Twitter The_JenJen

Andrew Bretz is a sessional instructorof English Literature and Drama

specialising in early modern dramaHe has taught at Wilfrid LaurierUniversity the University of Guelph

Brock University and McMasterUniversity For the past two years he

has taught a special summer intensiveat Ontariorsquos Stratford Festival His PhDdissertation was on the representationof sexual violence on the early modern

stage Find him on TwitterAndrewBretz001

Just some of the contributors to this issue of Shakespeare Magazine

Rosalind Lyons is a painter whohas exhibited widely in both mixedand solo shows with work in UK

and international private collections A life-long love of Shakespeare isreflected in many of her paintings

and a particular recent focus isShakespearersquos Globe theatre where shespent a period as artist-in-residenceShe is currently studying for a PhD

in Painting and ShakespeareanTheatre at Anglia Ruskin University

in CambridgeFind her on Twitter roslyons

52 SHAKESPEARE magazine

Contributors

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Benedict Cumberbatch

SHAKESPEARE magazine 13

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Benedict Cumberbatch

16 SHAKESPEARE magazine

ldquoAnd yet to me whatis this quintessence

of dustrdquo [II 2]

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Even more than London there

is one place above all that is

green and pleasant landhellip

Words Helen Mears

Pictures Helen Mears and Susan Braund

Stratford-upon-Avon

SHAKESPEARE magazine 19

W e could be in any smallpicturesque Englishtown with its medievalchurch half-timberedTudor buildings shops

restaurants and delightful riverside walksBut Stratford-upon-Avon is not just any

town Itrsquos one of the best-known most- visited and probably most-loved locations inEngland Thatrsquos because itrsquos the birthplace of William Shakespeare Itrsquos also the place heseems to have considered his home After allShakespeare grew up there went to schoolthere and spent his final days there

So here is Shakespeare Magazinersquos on-the-ground guide to Stratford-upon-Avon Hereyoursquoll find hints and tips for first-time visitorsand returning aficionados alike What to see

the best ways to see it where to stay where toeat and how to get around while yoursquore there Are you ready Then letrsquos start our tourhellip

The BirthplaceSurely the must-visit spot for any self-respecting Bardolator this is where it all beganndash the six-roomed Merchantrsquos House on HenleyStreet where in April 1564 Mary Shakespeare wife of glover John gave birth to their famousson Williame house is approached

HOME

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20 SHAKESPEARE magazine

through the Shakespeare Centre on the left-hand side of the Birthplace A short exhibitionshows you items such as a prized First Folioand the foot of Stratfordrsquos Old Market Cross

from where glover John Shakespeare wouldhave sold his wares A walk through the gardens leads to

the house itself You enter through theself-contained annexe where William and Anne Shakespeare spent the first years oftheir married life and where their childrenSusannah Judith and Hamnet were born eannexe was later occupied by Williamrsquos sister Joan You can walk through the parlour andthe dining room to Johnrsquos workshop where heproduced gloves and other leather goods

A staircase leads to two bedrooms onefor the girls one for the boys and a loft spaceis visible where the apprentices would haveslept Finally you reach the birth room themain bedroom in which William and his sevensiblings were born

Guides are on-hand in all rooms to tell youtheir history and other gems of informationComplete your visit by watching classicShakespearean speeches performed in thegarden by resident acting troupe Shakespeare

Aloud and then picking up some souvenirs inthe gift shop and excellent bookshop

e five house ticket is the best value givingyou entry to all of the properties (HarvardHouse is a current alternative to New Place)and allowing you to view Shakespearersquos Gravein Holy Trinity Church

The Avon and Boat trips A walk along the Avon is a must in any seasone gentle stroll from the RSC to Holy Trinity

Church will take you past drooping willowssmoothly sailing swans and green parklandFor a diff erent perspective on the town you cantake a boat trip along the river itself Startingfrom near the RSCeatre you cruise gentlydown to the church where Shakespeare wasbaptised and buried before turning back andheading past the theatre and under CloptonBridge Itrsquos a bridge that William himself would have known built as it was around1480 e Avon is very pretty everywhere

you look are the incredible tame (and alwayshungry) swans and picturesque houseboatse banks are lined with weeping willows that just might have been the inspiration for poorOpheliarsquos watery end in Hamlet If you wouldrather take a slower self-driven trip there arerowing boats canoes and small speedboatsfor hire Beware though these are not aseasy to control as they look and you may wellspend a good proportion of your allottedtime relearning how to row and avoiding

Stratford-upon-Avon

The birth roomat ShakespearersquosBirthplace

Molly fromShakespeare Aloudin the Birthplacegarden

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SHAKESPEARE magazine 21

other hapless river tra ffic Boat trips typicallylast for around 40 minutes and are especiallypleasant in the late afternoon when the sun setsslowly behind the church steeple For addedluxury you can take a restaurant cruise where

afternoon tea or an evening meal are served onboard or as a quicker cheaper alternative youcould take the chain ferry across the Avoneferry dates from 1937 and is the last of its kindin the UK

Nash House and New Place

As well as the Henley Street property theShakespeare Birthplace Trust care for fourother locations in and around Stratford allassociated with Williamrsquos family Nash House

and New Place were adjoining propertieseformer was the home of Judith Shakespeareand her husband while the latter was thefamily home that William purchased in 1597at the time the second most expensive housein the town Sadly it was demolished by asubsequent owner but the Trust are currentlyundertaking a massive renovation of the siteis means that the properties will not be opento the public until 2016 to coincide with the400th anniversary of Shakespearersquos death

Hallrsquos Croft

A brief walk from New Place will take youto Hallrsquos Croft the home of SusannahShakespeare and her husband the physician John Hallis is an interesting property in its

own right and is partly set up to show how apractising physician would have worked at thetime A special mention too must goe Arterthe award winning independent craft shopadjoining the building and to the beautifulgarden in which open air performances ofShakespearersquos plays are sometimes performed

Stratford-upon-Avon

Holy TrinityChurch viewedfrom the Avon

Nash House andNew Place

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22 SHAKESPEARE magazine

Anne Hathawayrsquos Cottage A short distance from Stratford is Shottery where you can find the beautiful cottage

which was the home of the Hathaway familySet in yet another lovely garden this is thehouse in which Anne Hathaway grew upand was courted by the young William JohnShakespeare served with Anne Hathawayrsquosfather on the town council so their childrenprobably knew each other from a young agee family remained associated with thecottage for several centuries and have spunmany a yarn about the young lovers theveracity of which are highly questionable

However the stone floor of the kitchen isoriginal and we know that William must have walked those stones many many times

Mary Ardenrsquos Farme last of the Shakespeare properties is Mary Ardenrsquos Farm Shakespearersquos mother lived hereand itrsquos where she probably took the infant William when plague broke out in Stratfordshortly after his birth Open from March toNovember only the farm is run as a working

Tudor farm with costumed guides caring forthe buildings and the animals Itrsquos a great placefor a family day out with plenty to see and doand numerous activities runningere are

daily falconry shows archery animals to feedand games to play You can even treat yourselfto a genuine Tudor meal in the cafe ndash pottageand home-baked breads are a speciality

What if you donrsquot have a care town itself is fairly small and all themain attractions are within walking distanceHowever the easiest way to get around and toenable a visit to Anne Hathawayrsquos Cottage andMary Ardenrsquos farm is to the Hop On-Hop Off City Sightseeing busis will take you to allthe main town locations and also to Shotteryand Wilmcote A day ticket will give youunlimited access to the buses and allow you tovisit all of the Shakespeare properties e buscan be picked up by the statue of Touchstonethe jester at the top end of Henley Street

Walking Tours Another excellent way to see the main sites ofStratford and to learn some of the historicaltales of the town is to take a walking tour

Stratford-upon-Avon

Anne HathawayrsquosCottage

Mary Ardenrsquos Farm

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ere are several options depending on thetype of tour yoursquod likee town guides runhistorical tours of the town every day (yesevery day) of the year For those who like to be

a bit more daring there are evening ghost walksled by costumed guides who will tell you someof the spooky tales of Stratford Both of thesetours start from the Swan Water Fountain onthe riverside

Or if you like the idea of being guidedby Shakespeare himself on a Saturday (andMonday to Saturday through the summerholidays) there are town walks led by the manhimself (or someone who looks an awful lotlike him)ese run from Tudor World onSheep Street an interesting museum in thehouse that belonged to the man who wasallegedly the model for Sir John Falsta ff

Holy Trinity Church Another must-see is the townrsquos 13th centurychurch with its distinctive spire that dominatesthe view from the river Remember that if youhave a ticket to the Birthplace properties yourvisit to the grave is free e church is famousfor being where William Shakespeare wasbaptised on 26 April 1564 e old font that

was used for the baptism is displayed in thechancel along with copies of both the registerof baptism for April 1564 and the register ofburials for April 1616 where Shakespearersquosname can be clearly seen Also in the chancelin front of the altar are the Shakespeare familygraves Williamrsquos bears its infamous curse

ldquoGOOD FRIEND FOR JESUSSAKE FOREBEAR

TO DIGG THE DVST

ENCLOSED HEREBLESTE BE YE MAN YT SPARESTHESE STONES

AND CURSED BE HE YT MOVESMY BONESrdquo

On the wall above the grave is the effigy of

Shakespeare Itrsquos one of the few images which was produced within the lifetime of AnneShakespeare and probably one of the mostauthentic likenesses of her husband

The Guildhall and King EdwardrsquosSchoolDirectly opposite the site of New Place standthe Guildhall and the townrsquos old grammarschool Both of these places have links to theShakespeare family King Edwardrsquos Schoolis where the young William is believed tohave studied and itrsquos probably where hefirst encountered the classical texts which soinspired him As the son of a town councillorhe would have been entitled to a placee

old school is sometimes open to visitors at weekends or during the holidays but theschool has just won a lottery grant whichshould enable them to open it as a permanentattraction e Guildhall was sometimes hostto groups of travelling players and so it couldbe the site where young William first sawtheatrical performances It is widely believedthat John Shakespeare owing to his role astown bailiff was responsible for supervising the whitewashing of the medieval Doom Painting

Stratford-upon-Avon

SHAKESPEARE magazine 23

The GuildhallDoom Painting

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24 SHAKESPEARE magazine

Stratford-upon-Avon

is has been recovered and is now once againvisible above the chancel arch

The Royal Shakespeare CompanyTheatre and the riversidee riverside park is home to several interestingsights It is from here that you can get a view ofthe Clopton Bridge pick up a river cruise feedthe swans and admire the Gower Memoriale memorial was presented to the town in1888 and features a statue of Shakespeareseated upon a plinth overlooking statues offour of his best known charactersese areHamlet Prince Hal Sir John Falsta ff and Lady

Macbeth who represent Comedy HistoryPhilosophy and Tragedy Closer to the theatreis the beautiful Swan Water Fountain unveiledin 1996 If you see the water frothing fear notit seems to be a sport amongst local youngstersto fill the fountain with washing up liquid on aregular basis

e Royal Shakespeare Companyeatre was built in 1932 but has recently undergonea complete refurbishment in both the mainand the Swan theatres e building reopened

in 2010 with both theatres having beenconverted to boast thrust stages and curvedgalleries similar in shape to the originalElizabethan playhousese world renowned

Royal Shakespeare Company performshere throughout the year staging plays byShakespeare and his contemporaries as well asby newer authors ey also run an educationprogramme exhibitions family activitiesduring the school holidays and theatre toursTo see Stratford from an entirely diff erentangle take the lift up the 36 metre high towerfor spectacular views across the town

Where to eat and drinkStratford has an excellent range of eateriesto suit all tastes and budgets ere is pubgrub afternoon teas world cuisine finedining pizza pasta and fish and chips Manyrestaurants off er pre-theatre menus and ifyoursquove been on a town walk you may find thatyou can get discount vouchers for your foodere are many pubs in Stratford including theGarrick Inn the oldest pub in the town whereyou can taste the Shakesbeer specially brewedto celebrate Shakespearersquos 450th Birthday in2014 If you want to spot RSC cast members

relaxing after their showse Dirty Duck on Waterside is the place to drink

Where to stay Again Stratford-upon-Avon has a good varietyof hotels bed and breakfasts and holidayhomes All the main chains have hotels inthe town from budget brands to the luxurynamesere is an excellent choice of bedand breakfast establishments in and aroundthe town again these will suit all tastes and

budgets Airbnb also has an interesting rangeof rooms flats and houses to rent in StratfordHowever be sure to book early especially forthe prime summer months

The Shakespeare Birthplace Trustwwwshakespeareorguk

The GowerMemorial Will andPrince Hal

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M

any places around the worldhave been named afterStratford-upon-Avon thebirthplace and home of William

Shakespeare And many of those Stratfordsare home to theatre festivals of varying sizesStratford in the state of Victoria in Australiahas an annual Shakespeare festival still goingevery year while Stratford in Connecticut inthe USA had a major theatre from the mid1950s to the mid 1980s Stratford Ontarioin Canada however stands out among thesetowns and festivals not merely in scope but ininternational reputation and prestige

In 1950 Canada had no home-growntradition of classical theatre Certainly

Shakespeare was performed but there hadbeen a strong anti-theatrical movement inCanada throughout the 19th century whoseeffects still lingered throughout the first half ofthe 20th As a cultural icon Shakespeare wasedifying to be sure but certainly not to beperformed The Stratford Festival changed allof that for Canada

In the late 1940s the local newspapers andgovernment of the town conceived of the ideaof revitalising Stratfordrsquos sagging economy by

capitalising on the name of the town and its

long association with the Bard They bandedtogether and under the leadership of TomPatterson they brought over Tyrone Guthrieand Alec Guinness for the first season in1953 Guthrie had famously directed Gielgud

inHamlet

at Elsinore Castle in Denmarkand had been the manager of the Old Vic inLondon He wanted to create an acting spacethat echoed the original Globe theatre whereactors were surrounded by the audience incontrast to the proscenium arch theatres thatdominated the London and New York scenes

From the first performance which tookplace inside a giant circus-style tent on thebanks of the Avon River the festival workedto create a new aesthetic of Shakespeareanperformance The thrust stage of the FestivalTheatre designed by Tanya Moiseiwitschhas been recognised as one of the greatinnovations in stage design of the 20th centuryGenerations of actors have had to learn howto address an audience on three sides of themsometimes only an armrsquos length away

The festival has been central to the careersof Canadian actors such as ChristopherPlummer Martha Henry and even WilliamShatner Actors from the US and UK havesought to play the festival as well including

Peter Ustinov Christopher Walken and JessicaTandy Indeed these international stars notonly lend credibility but have indelibly markedthe festival For instance Maggie Smithrsquosperformance as Rosalind in As You Like It inthe 1977 and 1978 seasons is legendary in thecompany and the town

Today the festival has expanded to includemultiple performance spaces a theatre schooluniversity accredited courses and the largesttheatrical costume shop in North America

It has started countless careers inspiredcompanies such as Torontorsquos SoulpepperTheatre and helped shape the Canadiantheatre landscape for over 50 years

Stratford Festival ndash Ontario Canada

wwwstratfordfestivalca

MEANWHILE

IN CANADATherersquos more than just one Stratford you knowAnd the one in Ontario Canada has a world-renownedShakespeare Festival gives us a tour

Stratford Ontario

SHAKESPEARE magazine 25

ldquoFrom the fi rst performancethe Festival worked tocreate a new aesthetic ofShakespearean performancerdquo

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Planning to performa short selection

from Shakespeare

The 30-Minute Shakespeare

Anthology contains 18 abridged

scenes including monologues from

18 of Shakespearersquos best-known plays

Every scene features interpretive stage

directions and detailed performance

and monologue notes all ldquoroad testedrdquo

at the Folger Shakespeare Libraryrsquos

annual Student Shakespeare Festival

THE 30-MINUTE SHAKESPEARE is an acclaimed series of abridgments that tell the story of each play while keeping the beauty ofShakespearersquos language intacte scenes and monologues in this anthology have been selected with both teachers and students inmind providing a complete toolkit for an unforgettable performance audition or competition

NICK NEWLIN has performed a comedy and variety act for international audiences for more than 30 years Since 1996 he hasconducted an annual teaching artist residency with the Folger Shakespeare Library in Washington DC

The 30-Minute Shakespeare series is available in print and ebook format at retailersand as downloadable PDFs from 30MinuteShakespearecom

The 30-Minute Shakespeare Anthology

includes one scene with monologue

from each of these plays

ldquoLays the groundwork for a truly fun and sometimes magical

experience guided by a sagacious knowledgeable and intuitive

educator Newlin is a staunch advocate for students learning

Shakespeare through performancerdquo mdashLibrary Journal

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Roaslind Lyons

28 SHAKESPEARE magazine

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For UK artist Rosalind Lyons the Bard is a

constant presence in her creative life She tells

us how Shakespeare inspired the haunting and

dreamlike works that adorn these pages

Words and paintings by Rosalind Lyons

Rosalind Lyons

SHAKESPEARE magazine 29

Left TheRoaring Boys

PAINTINGSHAKESPEARE

S hakespeare has long been at the heart ofmy work sometimes directly and obviouslyin the subjects and often in the titlesBut always Shakespearersquos words charactersand stories are there in my head when Iam painting ndash a perpetual conscious andunconscious presence

My style echoes that of the Renaissancepainters and Elizabethan portraits andthese influences combined with a life-long love of Shakespeare made my firstvisit to Shakespearersquos Globe pivotal Iexperienced a powerful sense of connectionand recognition Here suddenly ideasand themes with which I had been so longpreoccupied were brought to life

I subsequently gained access to theGlobe to draw and later spent some time

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as Artist in Residence thereat experienceprompted more in-depth exploration notonly of Shakespeare and painting but of therelationship between painting and theatreere are of course the strong visualconnections ndash both are spaces for spectacleand illusion But also compelling ideas oftransformation imagination storytelling andidentity And overall the theme of ambiguitye blurring of boundaries between realityand fiction male and female light andshadow past and present I am fascinated byhow we respond to history how we re-presentand re-imagine the past And the figures inmy paintings are imagined as belonging toboth now and then ndash flitting back and forthacross the threshold between past and presentbetween Shakespearersquos time and our own

modern worldI have painted some specific characters

from Shakespeare but many subjects ofmy paintings are anonymouse figuresare unknown their place purpose role is amysteryis anonymity is unsettlingereare clues in the setting in the costumes ndash orperhaps I should just say in the clothes theyare wearing ndash but the context is not obviousI am fascinated by the dramatic convention ofcross-dressing ndash and particularly the inherent

confusion as with Rosalind ( As You Like It )and Viola (Twelfth Night ) in the idea of aboy playing a girl playing a boy Many of thecharacters I invent are androgynous theirgender and age uncertainis ambiguityof identity interests me in the context ofvisual illusion and theatrical transformationthe idea of inbetween-ness and somethingunresolved

Like theatre my paintings are concerned with inventing characters and the creation

Right No MoreYielding But A

Dream

Roaslind Lyons

30 SHAKESPEARE magazine

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of an imaginary world and I am particularlyattracted to the fools fairies and witchesIn A Midsummer Nightrsquos Dream the fairiesrsquoactions may seem malevolent or benign or just mischievous but there is definitely a dark

side an underlying sense of threate Fool too is intriguing Shakespearersquosfools frequently describe themselvesor are referred to as a nobody but areunquestionably much moree fool is anoutsider concerned with but at the same timeseparate from the story He ndash or sometimesshe ndash doesnrsquot quite belong anywhere butseems to exist on the boundary between thefamiliar and the uncanny

I am attracted to the strange to mysteryand shadows and try to express through myimages a strong feeling that it could be thator maybe something else As Orsino says atthe conclusion of Twelfth Night ldquoA naturalperspective that is and is notrdquo While makinga painting and even when it is finished Idonrsquot know really who my characters are ndashthey remain elusive But I like not knowingand ultimately meanings always change anddepend on individual perceptions

My experience at the Globe led to aparticular fascination with the ambiguous and

protean quality of the theatrical performerhow their identity transforms and fluctuatesI was attracted by this when watching

Rosalind Lyons

SHAKESPEARE magazine 31

Above A MidwinterNightrsquos Dream

Right Three Fools

Far right FollowingDarkness

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rehearsals observing actors shift between selfand impersonation between diff erent realitiesand identities When they are not acting theyndash metaphorically and often literally ndash melt

into the shadows I am interested too in thephysical and symbolic threshold between lsquoonrsquoand lsquooff rsquo-stage the transformation inherentin an actor moving from the wings onto thestage assuming another self and anotheridentity Particularly evocative is the fact thatactors were colloquially known as shadowsin the Elizabethan playhouses ndash suggestingsomething unknowable and insubstantialIn the Prologue to Henry V Shakespeare hasthe Chorus describe the players as lsquociphersrsquoimplying deception and secrecy

Artists in the past who have tackledShakespeare have generally produced imagesthat directly illustrate the text or representfamous actors or scenes from a particularperformance Today as well as on the stageShakespearersquos plays are frequently re-imaginedin very successful film and TV adaptationsbut I have struggled to find more than ahandful of contemporary fine artists whohave engaged with Shakespeare on any levelPerhaps Shakespeare as a subject is seen

by some as too traditional too lsquopopularrsquoor simply just too lsquooldrsquo But in the theatreand in literature there is an ever-increasingenthusiasm for innovative interpretationsof the plays and for me Shakespeare is aconstant inspiration

e Prologue of Henry V also urges theaudience to ldquoPiece out our imperfections withyour thoughtsrdquo to liberate the imaginationand create another kind of reality to shapeour own fantasies within the ldquowooden Ordquo of

the theatre In my paintings I endeavour todo the same

Explore the work of Rosalind Lyons atwwwrosalindlyonscom

Above These Two CreaturesBelow Therersquos Magic In Thy Majesty

Roaslind Lyons

32 SHAKESPEARE magazine

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$amp( ) +-01

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Aidan OrsquoReilly

34 SHAKESPEARE magazine

Looking forRichard AidanOrsquoReilly is playingShakespearersquosbaddest monarch

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Aidan OrsquoReilly

SHAKESPEARE magazine 35

You are legally blind having been

diagnosed with retinoblastoma as an

infant How did this impact on your

acting aspirations and early career

ldquoMy parents did a good job raising me Inever grew up thinking of it as a handicap orthinking it could hold me back from what I wanted to do I couldnrsquot play sports at all soI think my parents were grateful that I hadsomething that I was passionate about from avery young age

ldquoI went to a public elementary school with a program designed for the blind so itfelt very natural for me to be the way that I was And acting has always been part of thatrdquo

You went to RADA in London Was

there a reason why you wanted to

train in England and not in the US

ldquoItrsquos always been an ambition of mine to

travel as far and wide as possible Also myhero growing up was Peter OrsquoToole ndash Iread his autobiography in high school andlearned he had gone to RADA and decided I wanted to go there too So I auditioned therenot knowing that RADA is arguably thebest drama school in the English-speaking world Consequently I was quite relaxed atthe audition which is probably why I gotin My ignorance can sometimes serve me well Going to RADA was a life-changing

Aidan OrsquoReilly is an actor with an

inspiring story Legally blind since he

was six months old he forged a passionfor drama at an early age Aidan went

on to gain a BA with honours from

Londonrsquos Royal Academy of Dramatic

Art before touring for three years with

the American Shakespeare Center

In 2012 Aidan was diagnosed with

sarcoma a rare cancer He bounced

back in 2014 after intensive treatment

and is now cancer-free We spoke to

Aidan as he prepared to play the title

role in Richard III for Californiarsquos Marin

Shakespeare Company We asked himto share his story and to give us his

take on one of Shakespearersquos most

fascinating characters

Interview by Jen Richardson

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Aidan OrsquoReilly

36 SHAKESPEARE magazine

experience I was lucky enough to havecontact with brilliant professors and Irsquom stillin awe of the students I went to school withI wouldnrsquot trade that experience for anythingrdquo After graduating from RADA you

went on the road with the American

Shakespeare Center Tell us a bit

about that

ldquoThat was one of the happiest times of mylife In many ways I got spoiled I was a working actor 11 months out of the yeartouring nationally seeing parts of the USI had never been to before doing plays Iloved and working with directors who werevehemently faithful and respectful to the text When I wasnrsquot on the road I was in residenceat the Blackfriars Playhouse in StauntonVirginia with many extraordinary actorsI was very lucky to be thererdquo

Three years ago you were diagnosed

with sarcoma How did you

overcome this enormous challenge

and return to the stage in 2014

ldquoThe only reason Irsquom still alive is because ofmy mother Lily and my wife Jocelynn AlsoI was fortunate that we caught it before it hadspread and it was on my leg and away fromany major organs

ldquoI am very grateful for my team of doctorsat UCSF who did an incredible job in mytreatment and follow-up care Irsquom glad to beback to workrdquo Yoursquore now due to play Richard III

with Marin Shakespeare Company

Howrsquos it going so far

ldquoAt this point Irsquom in the paperwork stage

of things A lot of reading the HenryVI s biographies of Richard as well asperformance history of the play itself Irsquomdoing a fair amount of limping around myapartment as well I canrsquot wait to get intorehearsals next weekrdquo Tell us about Marin Shakespeare

Company and what appealed to you

about working with them

ldquoRobert and Lesley [Currier MSCrsquos Artistic

Director and Managing Director] arefascinating people Their intelligence andhumour is contagious Without questionthere is a lot to be learned from themrdquo Richard IIIrsquos remains were discovered

in 2012 and reburied this year Is all

the new information about Richard

influencing your portrayal

ldquoYes and no My job isnrsquot to play the historicalRichard but the Richard that Shakespeare has

Aidan believesthat Richard IIIrsquosobsession withcontrol is whatcauses his downfall

ldquoPeter OrsquoToole wasmy hero He went to

RADA so I wanted to go there toordquo

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Crowning gloryAidan with MarinShakespearersquosRobert Currier

created Itrsquos helpful to know the facts of thesituation in order to gain insight into whathas been changed in Shakespearersquos versionof events

ldquoI met with a friend of mine who is a

retired surgeon who walked me through themedical information that has come to lighton Richardrsquos body and I will certainly usethat to inform my physical choicesrdquo Unlike many actors yoursquore the right

age to play the historical Richard III

Do you feel Richardrsquos relative youth

has been overlooked

ldquoI do Richard is a young man who believeshe is hardened by the experiences he andhis family endured during the War of theRoses and believes himself to be beyondhuman emotions and the lsquorestrictionsrsquo of aconscience He isnrsquot He pays the bill for thehorrible things he does That lack of self-knowledge is not exclusive to youth but I feelit makes him more sympathetic and relatableto an audiencerdquo Some people think Richard III shows

Shakespeare delivering a highly

effective piece of Tudor propaganda

Where do you stand on thatldquoI think Shakespeare has a soft spot foroutsiders and underdogs Although his playssometimes work within the confines of thebiases of Elizabethan society he canrsquot help butmake his lsquovillainsrsquo fascinating human beings

For as horrible as Richard is itrsquos amazing tosee how audiences relate and respond to himrdquo Which other important themes do

you feel Shakespeare deals with in

the playldquoThe history plays are full of extraordinarypeople who waste their lives and intelligence who sacrifice their humanity in pursuit of thecrown Itrsquos still happening today What is theattraction of power Richard never pauses tothink of why he wants the crown or if hersquodbe any good as king Turns out hersquos not butitrsquos this bizarre obsession with control thatpropels him to kill everyone off thatrsquos in his way Itrsquos also fascinating that the one characterthat is consistently kind to Richard is hisfather York

ldquoI think an argument can be made thatRichard in his warped way is trying to liveup to the image he has of his father Ofcourse York is dead and gone by the timeRichard III begins but you can glean a lotabout Richardrsquos inner workings in the way hespeaks about his father Of course itrsquos foolishto try to answer questions that Shakespearedoesnrsquot and Irsquom not trying to say this solvesa mystery but I think itrsquos interesting Itrsquos only

an element itrsquos not the answerrdquo Richard III is listed as a historical

play in the First Folio but in the

quarto edition it is termed a tragedy

Which category would you put the

play in and why

ldquoI think of the history plays from Richard II to Richard III as one vast play an epic thatencompasses all the categories I think if youlook at Richardrsquos progression through those

plays you see a great mind warped by the War of the Roses and that certainly adds tothe tragic element I think of Richard III asthe final chapter of a great epicrdquo

Aidan OrsquoReilly stars in Marin ShakespeareCompanyrsquos Richard III from 4-27 September

Aidan OrsquoReilly

SHAKESPEARE magazine 37

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Scotland Shakes

SHAKESPEARE magazine 39

Bonnie Prince

Brian Fergusonas Hamlet in theCitizens Theatre

production Photoby Tim Morozzo

Billy William Shakespeare is undoubtedly Englandrsquos

Bard But how is he viewed north of the border

Our Caledonian correspondent surveys the state

of Shakespeare in Scotland and meets esteemed

outdoor theatre company Bard in the Botanics

Words Paul F Cockburn

T owards the end of May thisyear a BBC Scotland afternoon

news bulletin surprisinglyturned its attention to aforthcoming production of

ldquoone of William Shakespearersquos best lovedplaysrdquo ndash A Midsummer Nightrsquos DreamHowever this particular production wasnrsquotconsidered newsworthy because it came froman amateur group based in Dumfries andGalloway Not even that the CrossmichaelDrama Club were one of just seven amateurScottish groups taking part in the Royal

Shakespeare Companyrsquos Open Stages project which aims to help amateur companies

extend their repertoiresNo the lsquohookrsquo was how this newproduction was Shakespeare ldquobut no asyou micht ken itrdquo Because it had beenreimagined in Scots as A MidsimmerNichtrsquos Dreme

As it happens writer John Burns saysthat his principle reason for translating AMidsimmer Nichtrsquos Dreme was simply theintuition that it being in Scots would workto the benefit of the production ldquoItrsquos not

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Scotland Shakes

40 SHAKESPEARE magazine

so much that 16th century English canrsquot docertain things more that using Scots brings itcloser to a Scottish audience and to audiences who might think Shakespeare too fancyrdquo hesays ldquoI feel too that Scots can catch the sheerphysical power of Shakespearersquos language He writes lines you really feel physically when

you say them out loud My intention was touse Scots to produce a text that was actableand which would be accessible and enjoyablefor the audience and the Scots was a majorpart of thatrdquo

Arguably translating Shakespeare intoScots ndash viewed by many as a distinct languagefrom English ndash is just one way of finding thecontinued relevancies of Shakespearersquos writing with the here and now Certainly John Burns was keen to see if Scots ldquocould match the way

Shakespeare switches tonehellip from broad attimes bawdy humour to moments that aremore serious or even sinisterrdquo

Yet there is a wider perspective whether wersquore discussing translation into Scots orsaying Shakespearersquos words with a Scottishaccent Willy Maley and Andrew Murphyin their introduction to Shakespeare andScotland (published by Manchester UniversityPress in 2004) go as far as describing thetranslation of Shakespearersquos Macbeth into

Scots as ldquoa patriotic actrdquo not least becauseof ldquothe political commitment implicit intranslating from English to Scots reversing

the dominant dubbing practice infi

lmsrdquoGlasgow-based novelist and playwright Alan Bissett ndash who actively campaigned fora Yes vote during last yearrsquos IndependenceReferendum ndash has since written about howsince the 1970s Scottish theatre had ldquoadeep engagement with the shifting beastof Scottish politicsrdquo Although Bissett wasfocusing primarily on original works byScottish playwrights and directors itrsquos worthpointing out that Shakespeare ndash despite therebeing absolutely no evidence to prove he evertravelled north of Carlisle ndash has played hisown part in this

As Maley and Murphy point outldquoScotlandhellip never had precisely the samerelationship with the Bard as England hasbut has experienced a fraught process ofappropriation incorporation and resistancerdquoIn part this is because Shakespeare ndash in hislatter career ndash was among the first lsquoBritishrsquo writers Many of his later plays ndash Cymbeline King Lear even Hamlet ndash were produced

A tartan-cladAntipholus andDromio in Bard inthe Botanicsrsquo TheComedy of Errors

Brian FergusonrsquosHamlet CitizensTheatre productionPhoto by TimMorozzo

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under the patronage of Scotlandrsquos King JamesVI (aka James I of England) Each in theirown way can be said to touch on ldquothe matterof Britainrdquo the complex relationship between

the constituent elements of Jamesrsquos newlsquounitedrsquo kingdom which the Stuart monarch was determined to see joined into oneat never quite happened of course

Even after the 1707 Act of UnionScotland retained its own legal educationaland religious systems along with anaccompanying sense of Scottish identity ndash which survived even the height of the Britishempire Yet from the 1970s on there havebeen notable changes in how Shakespeareis treated by Scotlandrsquos producing theatrecompanies Several years ago GlasgowrsquosCitizenseatre delivered a powerful Romeoand Juliet in part because of their decision toset the action in a present-day sectarian Westof Scotland ndash with accents to match

ldquoEnglish-accented Shakespeare carriesa specific resonance in Scotland one thatdirectors usually choose to avoidrdquo pointsout Mark Fisher a freelance journalist criticand author of the forthcoming book How toWrite Abouteatre

ldquoIrsquom not sure exactly when attitudesstarted to change but Irsquod say the argumentin favour of Scottish-accented productionshad been pretty much won by the 1990sBy that time companies such as Raindogand directors such as Hamish Glen hadbeen making a point of casting very Scottishproductions of Shakespearerdquo

One example of how things hadprogressed even by 1992 was the late KennyIrelandrsquos production of A Midsummer

Nightrsquos Dream his first as Artistic Directorat Edinburghrsquos Royal Lyceum ldquoHe castthe mechanicals with Scottish accents andeveryone else with English accentsrdquo MarkFisher explains ldquois I said in my review wasa fundamental error ndash or some such phrasee message it sent out was that people withScottish accents were foolish figures of fun whereas people with English accents wereserious figures of respect

ldquoIreland reacted furiously to my review

and made the case that he had based thecasting of the mechanicals around (the actor) Andy Gray who has a Scottish accent Inother words the meaning I inferred hadnot been deliberate I think itrsquos true to sayhowever that Ireland never cast a Shakespearelike that againrdquo

Gordon Barr is Artistic Director of

Glasgow-based Bard in the BotanicsScotlandrsquos only professional Shakespearecompany (see following pages)

ldquoWersquove never gone out of our way tomake Scottish versions of these texts norhave we gone out of our way to have classicaltraditional voicesrdquo he says ldquoMost of our coreactors have made their careers up here so wethink of them as Scottish actors

ldquoat is important to us to not overlylook outwards for the acting company As

much as possible we work with people who are based in Scotland Wersquore regularlyproducing Shakespeare here and we want tobe a part of the training to ensure that there isa range of strong classical actors hererdquo

Citizens Theatrewwwcitzcouk

Owen Whitehawas the Fool andDavid Hayman asLear in CitizensTheatrersquos King Lear Photo by TimMorozzo

Scotland Shakes

SHAKESPEARE magazine 41

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Bard in theBotanicsrsquo As You Like

It takes Rosalind andOrlando into theopen air

ldquoTouring is something that we have wanted to do foryears but was somethingthat we could not afford

to do without fundingrdquo says Gordon Barr Artistic Director of Scotlandrsquos only professionaloutdoor Shakespeare festival Bard in theBotanics If therersquos any irony attached tothe companyrsquos first major tour of Scotland which took place in early 2015 itrsquos that theperformances of their acclaimed Romeo and Juliet ndash featuring a cast of five ndash were playedexclusively indoors

ldquoNobody is touring classical theatre in

Scotland at the minute so itrsquos importantto usrdquo Barr adds ldquoOur work is so muchabout accessibility One of the joys of beingoutdoors is that people come to see the work who wouldnrsquot buy a ticket for a theatre Ifyou can bring a picnic sit out on the grass while watching the show it feels easier moreaccessible But people canrsquot come from Thursoto Glasgow for a night just to see a productionof Shakespeare They should be able to see itin Thurso So that is kind of where the urge totour came fromrdquo

Bard in the Botanics has presented outdoorShakespeare within the grounds of GlasgowrsquosBotanic Gardens since 2003 This yearrsquoslsquoUnlikely Wondersrsquo season presented newproductions of Loversquos Labourrsquos Lost The Merchant of Venice Richard II and A Midsummer Nightrsquos Dream in lsquoreprsquo between24 June and 1 August

The companyrsquos founder Scott PalmerBarr explains had done a lot of his training atthe Oregon Shakespeare Festival one of the

biggest in North America ldquoWith the kindof drive and enthusiasm that only Americanshave he managed to convince the entire cityof Glasgow that outdoor Shakespeare would work and that the weather wasnrsquot going to be

a problemrdquoTwo years later Palmer moved on and Barr

ndash originally involved as a director ndash succeededhim as Artistic Director ldquoIf anyone then hadsaid that I would end up spending 12 yearsrunning an outdoor Shakespeare festival I wouldnrsquot have believed themrdquo he says in hisoffice hidden behind some of the Botanicsrsquogardening sheds ldquoI very quickly fell in love with it once I started working here Despiteall the trials and tribulations that outdoortheatre in Scotland brings with it therersquos just

something magical and special about it Itrsquos a very close-knit company and thatrsquos sort of keptus all here as long as we have beenrdquo

While the annual summer season ofShakespeare plays in the Botanics will remainat the centre of what the company does ndashldquoOtherwise Bard in the Botanics becomesa rather strange namerdquo ndash Barr is very much

Outof theGarden

This year has seen Glasgowrsquos Bard in the Botanicsdo something completely unexpected They wentout on a tour of ndash whisper it ndash indoor venueshellip

Scotland Shakes

42 SHAKESPEARE magazine

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Scotland Shakes

SHAKESPEARE magazine 43

focused on building on the touring side ldquoBecause it was our first ever tour we

did end up taking Romeo and Juliet to theestablished Scottish touring circuitrdquo he addsldquoIt takes a while to build up relationships with the smaller venues thatrsquos going to bean ongoing process for us Even so we weretaking Romeo and Juliet to places like Mulland Stranraer ndash communities and venues thathavenrsquot had a lot of classical theatre comingthrough themrdquo

The choice of play was deliberate too ldquoIt was a production that was ready to go whichhad received five star reviews and sold out itsextended run in the Botanics in 2012 So weknew that the work was good but therersquos nodoubt that for a first tour we wanted to makeit easier for the venues to sell it Most venuesknow they can find an audience for Romeo and Juliet rdquo

In time he hopes that audiences aroundthe rest of Scotland will come to trust the Bardin the Botanics name sufficiently to take on theless familiar plays

ldquoYou just donrsquot know how quickly acommunity is going to turn out for Henry IV yetrdquo he says ldquoHopefully three or four toursdown the line theyrsquore going to turn out forBard in the Botanics ndash and if it happens to be

Henry IV well thatrsquos greatrdquoGiven their reimagining of A MidsummerNightrsquos Dream as a 1920s burlesque musicalis there a particular Bard in the Botanicsapproach to Shakespeare

ldquoOur kind of unofficial motto is lsquoBe BoldBe Braversquordquo Barr says ldquoIf wersquore continuingto stage these plays around 400 years afterShakespearersquos death I think therersquos an urgencyto ask lsquoWhyrsquo It is important to questionlsquoWhat is the story that we want to tellrsquo I wantto see how these plays intersect with historyand todayrsquos society not to present museumpieces

ldquoItrsquos always with an eye to try to releasesomething thatrsquos within the textrdquo Barrinsists ldquoWersquore not remotely interested ininnovation for innovationrsquos sake The playsare masterpieces thatrsquos essentially why wersquorestill doing them 400 years later But to revealsomething thatrsquos unexpected or new thatrsquosimportant to usrdquo

Bard in the Botanics

wwwbardinthebotanicscouk

Rosalind and Audreyin the forest Bardin the Botanicsrsquo As You Like It

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Shakespeare at the Tobacco Factory stf 2016 Seasonco-production with Tobacco Factory Theatres

HAMLETBy William Shakespeare

Directed by Andrew Hilton

Main run Thu 11 February ndash Sat 26 March 2016

In repertoire with Allrsquos Well That Ends WellMon 25 ndash Wed 27 April Sat 30 April 2016

The most famous play in world drama Hamlet

turns a new face to every decade So many

elements - political madness sex murder ndash all

brought together in a drama that is both a thriller

and the profoundest meditation on our human

condition

ldquoThrilling workrdquo The Guardian on Romeo amp Juliet

ldquoBullseyerdquo WhatsOnStage on Romeo amp Juliet

Shakespeare at the Tobacco Factory Friends Priority Booking opens Wed 23 September 10am

wwwstf-theatreorguk

Tobacco Factory Theatres Members Priority Booking opens Wed 16 September 10am

wwwtobaccofactorytheatrescom

Public Booking opens Wed 30 September 10am

Tobacco Factory Box Office 0117 902 0344

ALLrsquoS WELL THAT ENDS WELLBy William Shakespeare

Directed by Andrew Hilton

Main run Thu 31 March ndash Sat 23 April 2016

In repertoire with Hamlet

Thu 28 ndash Fri 29 April Sat 30 April

A young woman using skills bequeathed herby her father saves the French Kingrsquos life and

is rewarded with the right to choose her own

husband But what if the chosen one wonrsquot play

the game How can she get him into bed How

can she make him love her

ldquo There is something approaching real

magic hererdquo The Arts Desk on The School for Scandal

P h o t o s M

a r k D o u e t

Dorothea MyerBennett in Richard III

Benjamin Whitrowand Julia Hills in The

School For Scandal

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Having conquered

Hollywood and vanquished

the global entertainment

industry video games now

on our culture So where

does the Bard stand in all of

this We sent a Shakespeare

scholar to investigatehellip

Words Andrew Bretz

Shakespeare video games

46 SHAKESPEARE magazine

T eGamersquos A oot Silent Hill is one

big-name gamewhich includesShakespearereferences

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Shakespeare video games

SHAKESPEARE magazine 47

German cardboard Macbeth datingfrom the early1800s

Hamlet reimaginedRyan Northrsquos To Be

Or Not To Be

W

hen you walk intothe wood panelled Victorian Gothicismof the Gail Kern Paster

Reading Room at theFolger Shakespeare Library in WashingtonDC video games are probably the lastthing on your mind Buried deep withinthe archives however are a set of fragilecardboard figures printed in Germany in theearly 1800s representing each of the maincharacters of Macbeth

Nineteenth century German children would play with these figures on smallcardboard stages no bigger than a dollhouseey could replicate the story as it was toldin Shakespeare or use their imagination tochange the ending letting Lady Macbethsurvive and bringing Duncan back from thedead if they so chosee limits of the game were the limits of their imagination

Today the lsquogamificationrsquo of Shakespeareis a big business from Ryan Northrsquos choose-your-own-adventure edition of Hamlet To Be Or Not To Be to IDW Gamesrsquosupcoming Kill Shakespeare board gamebased on the comic of the same name

Gamifying Shakespeare is filtering intoschools libraries and the theatrical worldas well with the University of California atDavis the Stratford Festival in Ontario theGlobeeatre in London and the LondonMetropolitan Archives all experimenting with video game elements in exhibits productionsand research

Why video games In a sense this is thelogical next step in the media development ofShakespeare Hersquos everywhere in other media

books movies merchandise But videogamese answer for that depends on whoyou ask

StorytellingOccasionally individuals or publishinghouses develop video games that try to tellthe story of say Hamlet yet this is relativelyrare One example would be Elsinore a time-looping narrative adventure game set in the world of the play Players play the game as

Ophelia who wakes up knowing that in fourdays the entire court will be dead and shemust do something to stop ite problemis that she is stuck in a time loop reliving thesame four days over and over againat said Shakespearersquos presence in the

video game industry tends to be focused oncitation rather than adaptation of the playsat is video games for Xbox Playstationand other popular gaming systems often

just cite Shakespearersquos plays as a part of acommon cultural heritageese games donrsquotrestage say Hamlet but they quote the playIn these cases Shakespeare is used to establisha point of identification for the audience His writing tells the audience something aboutthe character or the situation

Given that audiences are supposedto be able to identify the quotations asShakespearean it is unsurprising that Hamlet is the most popular text for game designers to

cite Ine Elder Scrolls Online for instancea merchant NPC (non-player character)quotes Polonius when players interact sayingldquoNeither a borrower nor a lender berdquoe words establish the NPCrsquos role as a merchant while fitting the medieval world of thegame In the game LA Noire upon pickingup a fake shrunken head at a crime scene adetective leaps into high melodrama withldquoAlas poor Yorick I knew him Horatiordquoequotation and the clever voice acting establish

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Shakespeare video games

48 SHAKESPEARE magazine

the characterrsquos strait-laced yet macabre senseof humour

Sometimes citing Shakespeare is a partof a critique of a larger theme In the game Mass E ff ect the Elcor are a race of elephantinealiens who preface all statements with adescription of the emotion they are feelingand who speak in a slow monotonous drone As players interact with the expansive worldthey can discover a number of advertisementsfor an all-Elcor Hamlet e idea of theElcor actor ndash the ultimate in a flat woodenperformer ndash having to preface ldquoTo be or not

to berdquo with ldquomorose ruminationrdquo goes beyondthe simple humour of a bad Shakespeareperformance It subtly asks what it is aboutacting (and especially voice acting) that isvaluable

Shakespeare can appear in video gamesnot merely as a marker or contextualisationtool but as a part of a puzzle For example inthe game Silent Hill 3 players must arrange aset of Shakespeare anthologies on a bookshelfin an abandoned shopping mall in order to

proceed in the game At the hardest levelthe puzzle clue takes the form of a poemthat references all the major tragedies Romeoand Juliet King Lear Macbeth Othello andof course Hamlet e bloody nature of thetragedies fits with the bloody nature of theSilent Hill series of games which fall into thesurvival horror genre

Popular video games have also servedas the inspiration for games that engage with Shakespeare in a more direct way For

example Daniel Fischlin at the Universityof Guelph in Ontario Canada led a teamthat created a Flash game called rsquoSpeare Itrsquos

a scrolling arcade-style game suggesting thersquo80s hit Galaga which sees players identifyingand navigating through a series of enemies who turn into words upon being destroyede player progresses through the levelsby collecting the correct words to createShakespearean quotes learning Shakespeareantrivia along the way

ImmersionOne of the most exciting aspects of videogames is the ability to immerse the player inthe world of the game in a way that othermedia simply cannot do Being able to walkaround Prosperorsquos cell Julietrsquos balcony orto stand before the ghost of Hamletrsquos fatheras he cries out ldquoList list O listrdquo ndash theseexperiences are made possible through videogame technology

Students of Scenic Arts at the Universityof Hildesheim in Germany created Projekt ARIEL or SturmMOD in 2008 using a lsquomodrsquo(or modification) to the engine that runs

the game Far Cry 1 e performance artproject allowed users to experience Prosperorsquosisland interacting with certain parts andexploring others Players could walk aroundan imaginative rendition of Prosperorsquos cell and witness or interact with elements of the playincluding diff erent characters like CalibanProspero and Miranda

Four days to savethe Danish court

Elsinore

Another Hamlet reference this timein LA Noire

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Shakespeare video games

SHAKESPEARE magazine 49

Gina Bloom at the University of Californiaat Davis is presently spearheading a projectthat will be demonstrated in the lobby of theStratford Festival theatre in Ontario Canadathis summere project Play the Knave AShakespeare Performance Videogame lets usersdesign a virtual performance space and thenperform a scene from a Shakespeare playinhabiting this constructed space with anavatar As a Davis insider explains ldquoWe use akinect motion capture camera to capture theuserrsquos skeletal data so that players use theirentire bodies to control their avatarrsquos gesturesonscreen all the while reciting the lines from

Shakespearersquos scenerdquo is literally immersesthe players in the scene

Shakespearersquos Globe eatre in Londontook another tactic regarding immersionin the production of the game HemmingsrsquoPlay Company Hosted on the Playgroundportion of the Globersquos website and thusaimed at an audience of children the gamehas players taking on the role of Hemmingsan Elizabethan bear who leads a troupe oftheatrical animals such as Kit the Cat Dekker

the Dog and Slye the Foxe turn-based game leads players through

the vagaries of Elizabethan theatre practicefrom patronage to lost props and the plagueBy the end of the game players must earnenough money to rebuild the Globe after itburns down during a performance of HenryVIII

Also from Shakespearersquos Globe are twoinnovative video experiences created forchildren aged five to 11 e first Exploring

Shakespeare features two boys on a tour ofthe Globe theatre who sneak off to explorebackstage e video illustrates four plays

using short animations that are keyedto things the boys find backstage etechnology combines live action film andanimation to create an interactive touchablegame Filled with mini-games quizzes andinteresting facts about Shakespeare the gameallows players to click through the narrativeor to stop and learn more as they go along

e second video called Staging It usesthe same technology as the first film but thistime is for the 11-16 age group In this gamee Globe has filmed two actors performingfamous duologues from A MidsummerNightrsquos Dream and Macbeth on the Globestage Rather than shoot it once the actorshave performed their lines in diff erent ways(happy flirtatious defensive and so on)creating several diff erent clips per linePlayers can watch each of the clips and addtheir choice to a dynamic storyboard tobuild up their final scene Impressively theplatform allows for up to 1000000 diff erentcombinations of clips

Apps and Mini-GamesItrsquos when you start to look outside of therealm of popular video game platformslike Xbox or Playstation that Shakespeare

Silent Hill 3 Brush upyour Shakespeare ifyou want to survive

Hemmingsrsquo PlayCompany fromShakespearersquosGlobe

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Shakespeare video games

50 SHAKESPEARE magazine

really starts to pop up wherever you looke ubiquity of Shakespeare is especiallynoticeable when you start to look at apps andmini-games designed for phones and tablets

In 2012 Big Fish Games released aniPhone and iPad game called Hamlet that featured all the main characters ofShakespearersquos play but transposed them intoa save-the-princess narrative puzzle game A time traveller lands in Denmark andaccidentally kills Hamlet and so players mustcomplete his journey for him saving Opheliaand killing Claudiuse Shakespeareancontent is minimal and heavily adapted andyet it fits with the puzzle format in whichShakespeare tends to be found in videogamese Chronicles of Shakespeare Romeo amp

Juliet ande Chronicles of Shakespeare A Midsummer Nightrsquos Dream are lusciously-illustrated puzzle games for the PC In themplayers act as one of the characters from theplays gathering items and clues through aShakespearean environment

Among the literally thousands of appsrelated to Shakespeare that can be found forthe iPad or Android tablet are

e Shakespearean Insult Creator which generates invectives drawn from a wholly Shakespearean vocabulary So nexttime you want to call someone a jerk trysomething more like ldquoou fusty follyfallenfustilarianrdquo

e Shakespeare Translator whichtranslates ldquonormal English words and phrasesinto the words of Shakespeare himselfrdquo

e Shakespeare Fortune Cookie which provides short quotes from the plays

and a small trivia game Shakespeare or Die a game that

scrambles the words of famous quotationsfrom the plays and asks you to identify theplay and character who spoke the line If youmake a mistake however beware the witchesese apps are either explicitly games or

they are coming out of a game-like impulse tomake Shakespeare more accessible to everyone with an internet connection

Brave New WorldsIn a world where Shakespeare is an industrycounted in the millions of dollars per yearit is so easy to forget that Shakespearersquos playsare just that ndash playsere is a sense of joyand fun and happiness embedded in theexperience of watching them Games are oneof the ways that people over the centuries

have tried to recapture that elusive sense ofplayfulness within Shakespeare So it makesperfect sense that now with the advent ofdigital technologies Shakespeare is movinginto the digital world with a vengeance

From big studio games likee ElderScrolls to small apps that can be downloadedfor free from talking bears to immersiveperformance experiences Shakespeare iseverywhere in video games Rather than beingan undiscovered country into which the Bard

is only just beginning to emerge games havein fact engaged with Shakespeare and his works for hundreds of years And they willprobably continue to do so for hundreds ofyears to come

rsquoSpeare is a scrollingarcade-stylegame with addedShakespeare trivia

Hamlet is aShakespeare-themed puzzle fromBig Fish Games

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Meet thy makers

Helen Mears fell into bardolatryduring her teenage years and has

never recovered She is a volunteersteward at Shakespearersquos Globe

which ensures a regular diet of theBard She teaches English Film andMedia at Suffolk New College and isa specialist in teaching Shakespeareusing active methods Her favouriteShakespearean actor is Jamie Parker

and her favourite plays are the SecondHistory Tetralogy She hopes to

finish her Masters in the AdvancedTeaching of Shakespeare very soonFind her on Twitter hipster_hels

Paul F Cockburn is an Edinburgh-based freelance magazine journalist who specialises in writing about

arts and culture equality issues andpopular science Hersquos sufficiently

grey-haired for his English Literaturetraining to have sort of overlapped

with The BBC Television Shakespeareproject saving at least some of the

plays from death by academiaFind him on Twitter paulfcockburn

Jen Richardson first fell in love withShakespeare as a 15-year-old schoolgirl

ldquoHe got under my skin and hersquos still theretodayrdquo After training with a Manchester-based drama tutor she went on to pursuean acting career Drama remains a greatinterest but her focus is now on sharing

her passion for Shakespeare throughher writing In her spare time Jen is

generally down in Stratford-upon-Avonsitting on her favourite bench behind

Holy Trinity ChurchFind her on Twitter The_JenJen

Andrew Bretz is a sessional instructorof English Literature and Drama

specialising in early modern dramaHe has taught at Wilfrid LaurierUniversity the University of Guelph

Brock University and McMasterUniversity For the past two years he

has taught a special summer intensiveat Ontariorsquos Stratford Festival His PhDdissertation was on the representationof sexual violence on the early modern

stage Find him on TwitterAndrewBretz001

Just some of the contributors to this issue of Shakespeare Magazine

Rosalind Lyons is a painter whohas exhibited widely in both mixedand solo shows with work in UK

and international private collections A life-long love of Shakespeare isreflected in many of her paintings

and a particular recent focus isShakespearersquos Globe theatre where shespent a period as artist-in-residenceShe is currently studying for a PhD

in Painting and ShakespeareanTheatre at Anglia Ruskin University

in CambridgeFind her on Twitter roslyons

52 SHAKESPEARE magazine

Contributors

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Benedict Cumberbatch

16 SHAKESPEARE magazine

ldquoAnd yet to me whatis this quintessence

of dustrdquo [II 2]

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Even more than London there

is one place above all that is

green and pleasant landhellip

Words Helen Mears

Pictures Helen Mears and Susan Braund

Stratford-upon-Avon

SHAKESPEARE magazine 19

W e could be in any smallpicturesque Englishtown with its medievalchurch half-timberedTudor buildings shops

restaurants and delightful riverside walksBut Stratford-upon-Avon is not just any

town Itrsquos one of the best-known most- visited and probably most-loved locations inEngland Thatrsquos because itrsquos the birthplace of William Shakespeare Itrsquos also the place heseems to have considered his home After allShakespeare grew up there went to schoolthere and spent his final days there

So here is Shakespeare Magazinersquos on-the-ground guide to Stratford-upon-Avon Hereyoursquoll find hints and tips for first-time visitorsand returning aficionados alike What to see

the best ways to see it where to stay where toeat and how to get around while yoursquore there Are you ready Then letrsquos start our tourhellip

The BirthplaceSurely the must-visit spot for any self-respecting Bardolator this is where it all beganndash the six-roomed Merchantrsquos House on HenleyStreet where in April 1564 Mary Shakespeare wife of glover John gave birth to their famousson Williame house is approached

HOME

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20 SHAKESPEARE magazine

through the Shakespeare Centre on the left-hand side of the Birthplace A short exhibitionshows you items such as a prized First Folioand the foot of Stratfordrsquos Old Market Cross

from where glover John Shakespeare wouldhave sold his wares A walk through the gardens leads to

the house itself You enter through theself-contained annexe where William and Anne Shakespeare spent the first years oftheir married life and where their childrenSusannah Judith and Hamnet were born eannexe was later occupied by Williamrsquos sister Joan You can walk through the parlour andthe dining room to Johnrsquos workshop where heproduced gloves and other leather goods

A staircase leads to two bedrooms onefor the girls one for the boys and a loft spaceis visible where the apprentices would haveslept Finally you reach the birth room themain bedroom in which William and his sevensiblings were born

Guides are on-hand in all rooms to tell youtheir history and other gems of informationComplete your visit by watching classicShakespearean speeches performed in thegarden by resident acting troupe Shakespeare

Aloud and then picking up some souvenirs inthe gift shop and excellent bookshop

e five house ticket is the best value givingyou entry to all of the properties (HarvardHouse is a current alternative to New Place)and allowing you to view Shakespearersquos Gravein Holy Trinity Church

The Avon and Boat trips A walk along the Avon is a must in any seasone gentle stroll from the RSC to Holy Trinity

Church will take you past drooping willowssmoothly sailing swans and green parklandFor a diff erent perspective on the town you cantake a boat trip along the river itself Startingfrom near the RSCeatre you cruise gentlydown to the church where Shakespeare wasbaptised and buried before turning back andheading past the theatre and under CloptonBridge Itrsquos a bridge that William himself would have known built as it was around1480 e Avon is very pretty everywhere

you look are the incredible tame (and alwayshungry) swans and picturesque houseboatse banks are lined with weeping willows that just might have been the inspiration for poorOpheliarsquos watery end in Hamlet If you wouldrather take a slower self-driven trip there arerowing boats canoes and small speedboatsfor hire Beware though these are not aseasy to control as they look and you may wellspend a good proportion of your allottedtime relearning how to row and avoiding

Stratford-upon-Avon

The birth roomat ShakespearersquosBirthplace

Molly fromShakespeare Aloudin the Birthplacegarden

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SHAKESPEARE magazine 21

other hapless river tra ffic Boat trips typicallylast for around 40 minutes and are especiallypleasant in the late afternoon when the sun setsslowly behind the church steeple For addedluxury you can take a restaurant cruise where

afternoon tea or an evening meal are served onboard or as a quicker cheaper alternative youcould take the chain ferry across the Avoneferry dates from 1937 and is the last of its kindin the UK

Nash House and New Place

As well as the Henley Street property theShakespeare Birthplace Trust care for fourother locations in and around Stratford allassociated with Williamrsquos family Nash House

and New Place were adjoining propertieseformer was the home of Judith Shakespeareand her husband while the latter was thefamily home that William purchased in 1597at the time the second most expensive housein the town Sadly it was demolished by asubsequent owner but the Trust are currentlyundertaking a massive renovation of the siteis means that the properties will not be opento the public until 2016 to coincide with the400th anniversary of Shakespearersquos death

Hallrsquos Croft

A brief walk from New Place will take youto Hallrsquos Croft the home of SusannahShakespeare and her husband the physician John Hallis is an interesting property in its

own right and is partly set up to show how apractising physician would have worked at thetime A special mention too must goe Arterthe award winning independent craft shopadjoining the building and to the beautifulgarden in which open air performances ofShakespearersquos plays are sometimes performed

Stratford-upon-Avon

Holy TrinityChurch viewedfrom the Avon

Nash House andNew Place

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22 SHAKESPEARE magazine

Anne Hathawayrsquos Cottage A short distance from Stratford is Shottery where you can find the beautiful cottage

which was the home of the Hathaway familySet in yet another lovely garden this is thehouse in which Anne Hathaway grew upand was courted by the young William JohnShakespeare served with Anne Hathawayrsquosfather on the town council so their childrenprobably knew each other from a young agee family remained associated with thecottage for several centuries and have spunmany a yarn about the young lovers theveracity of which are highly questionable

However the stone floor of the kitchen isoriginal and we know that William must have walked those stones many many times

Mary Ardenrsquos Farme last of the Shakespeare properties is Mary Ardenrsquos Farm Shakespearersquos mother lived hereand itrsquos where she probably took the infant William when plague broke out in Stratfordshortly after his birth Open from March toNovember only the farm is run as a working

Tudor farm with costumed guides caring forthe buildings and the animals Itrsquos a great placefor a family day out with plenty to see and doand numerous activities runningere are

daily falconry shows archery animals to feedand games to play You can even treat yourselfto a genuine Tudor meal in the cafe ndash pottageand home-baked breads are a speciality

What if you donrsquot have a care town itself is fairly small and all themain attractions are within walking distanceHowever the easiest way to get around and toenable a visit to Anne Hathawayrsquos Cottage andMary Ardenrsquos farm is to the Hop On-Hop Off City Sightseeing busis will take you to allthe main town locations and also to Shotteryand Wilmcote A day ticket will give youunlimited access to the buses and allow you tovisit all of the Shakespeare properties e buscan be picked up by the statue of Touchstonethe jester at the top end of Henley Street

Walking Tours Another excellent way to see the main sites ofStratford and to learn some of the historicaltales of the town is to take a walking tour

Stratford-upon-Avon

Anne HathawayrsquosCottage

Mary Ardenrsquos Farm

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ere are several options depending on thetype of tour yoursquod likee town guides runhistorical tours of the town every day (yesevery day) of the year For those who like to be

a bit more daring there are evening ghost walksled by costumed guides who will tell you someof the spooky tales of Stratford Both of thesetours start from the Swan Water Fountain onthe riverside

Or if you like the idea of being guidedby Shakespeare himself on a Saturday (andMonday to Saturday through the summerholidays) there are town walks led by the manhimself (or someone who looks an awful lotlike him)ese run from Tudor World onSheep Street an interesting museum in thehouse that belonged to the man who wasallegedly the model for Sir John Falsta ff

Holy Trinity Church Another must-see is the townrsquos 13th centurychurch with its distinctive spire that dominatesthe view from the river Remember that if youhave a ticket to the Birthplace properties yourvisit to the grave is free e church is famousfor being where William Shakespeare wasbaptised on 26 April 1564 e old font that

was used for the baptism is displayed in thechancel along with copies of both the registerof baptism for April 1564 and the register ofburials for April 1616 where Shakespearersquosname can be clearly seen Also in the chancelin front of the altar are the Shakespeare familygraves Williamrsquos bears its infamous curse

ldquoGOOD FRIEND FOR JESUSSAKE FOREBEAR

TO DIGG THE DVST

ENCLOSED HEREBLESTE BE YE MAN YT SPARESTHESE STONES

AND CURSED BE HE YT MOVESMY BONESrdquo

On the wall above the grave is the effigy of

Shakespeare Itrsquos one of the few images which was produced within the lifetime of AnneShakespeare and probably one of the mostauthentic likenesses of her husband

The Guildhall and King EdwardrsquosSchoolDirectly opposite the site of New Place standthe Guildhall and the townrsquos old grammarschool Both of these places have links to theShakespeare family King Edwardrsquos Schoolis where the young William is believed tohave studied and itrsquos probably where hefirst encountered the classical texts which soinspired him As the son of a town councillorhe would have been entitled to a placee

old school is sometimes open to visitors at weekends or during the holidays but theschool has just won a lottery grant whichshould enable them to open it as a permanentattraction e Guildhall was sometimes hostto groups of travelling players and so it couldbe the site where young William first sawtheatrical performances It is widely believedthat John Shakespeare owing to his role astown bailiff was responsible for supervising the whitewashing of the medieval Doom Painting

Stratford-upon-Avon

SHAKESPEARE magazine 23

The GuildhallDoom Painting

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24 SHAKESPEARE magazine

Stratford-upon-Avon

is has been recovered and is now once againvisible above the chancel arch

The Royal Shakespeare CompanyTheatre and the riversidee riverside park is home to several interestingsights It is from here that you can get a view ofthe Clopton Bridge pick up a river cruise feedthe swans and admire the Gower Memoriale memorial was presented to the town in1888 and features a statue of Shakespeareseated upon a plinth overlooking statues offour of his best known charactersese areHamlet Prince Hal Sir John Falsta ff and Lady

Macbeth who represent Comedy HistoryPhilosophy and Tragedy Closer to the theatreis the beautiful Swan Water Fountain unveiledin 1996 If you see the water frothing fear notit seems to be a sport amongst local youngstersto fill the fountain with washing up liquid on aregular basis

e Royal Shakespeare Companyeatre was built in 1932 but has recently undergonea complete refurbishment in both the mainand the Swan theatres e building reopened

in 2010 with both theatres having beenconverted to boast thrust stages and curvedgalleries similar in shape to the originalElizabethan playhousese world renowned

Royal Shakespeare Company performshere throughout the year staging plays byShakespeare and his contemporaries as well asby newer authors ey also run an educationprogramme exhibitions family activitiesduring the school holidays and theatre toursTo see Stratford from an entirely diff erentangle take the lift up the 36 metre high towerfor spectacular views across the town

Where to eat and drinkStratford has an excellent range of eateriesto suit all tastes and budgets ere is pubgrub afternoon teas world cuisine finedining pizza pasta and fish and chips Manyrestaurants off er pre-theatre menus and ifyoursquove been on a town walk you may find thatyou can get discount vouchers for your foodere are many pubs in Stratford including theGarrick Inn the oldest pub in the town whereyou can taste the Shakesbeer specially brewedto celebrate Shakespearersquos 450th Birthday in2014 If you want to spot RSC cast members

relaxing after their showse Dirty Duck on Waterside is the place to drink

Where to stay Again Stratford-upon-Avon has a good varietyof hotels bed and breakfasts and holidayhomes All the main chains have hotels inthe town from budget brands to the luxurynamesere is an excellent choice of bedand breakfast establishments in and aroundthe town again these will suit all tastes and

budgets Airbnb also has an interesting rangeof rooms flats and houses to rent in StratfordHowever be sure to book early especially forthe prime summer months

The Shakespeare Birthplace Trustwwwshakespeareorguk

The GowerMemorial Will andPrince Hal

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M

any places around the worldhave been named afterStratford-upon-Avon thebirthplace and home of William

Shakespeare And many of those Stratfordsare home to theatre festivals of varying sizesStratford in the state of Victoria in Australiahas an annual Shakespeare festival still goingevery year while Stratford in Connecticut inthe USA had a major theatre from the mid1950s to the mid 1980s Stratford Ontarioin Canada however stands out among thesetowns and festivals not merely in scope but ininternational reputation and prestige

In 1950 Canada had no home-growntradition of classical theatre Certainly

Shakespeare was performed but there hadbeen a strong anti-theatrical movement inCanada throughout the 19th century whoseeffects still lingered throughout the first half ofthe 20th As a cultural icon Shakespeare wasedifying to be sure but certainly not to beperformed The Stratford Festival changed allof that for Canada

In the late 1940s the local newspapers andgovernment of the town conceived of the ideaof revitalising Stratfordrsquos sagging economy by

capitalising on the name of the town and its

long association with the Bard They bandedtogether and under the leadership of TomPatterson they brought over Tyrone Guthrieand Alec Guinness for the first season in1953 Guthrie had famously directed Gielgud

inHamlet

at Elsinore Castle in Denmarkand had been the manager of the Old Vic inLondon He wanted to create an acting spacethat echoed the original Globe theatre whereactors were surrounded by the audience incontrast to the proscenium arch theatres thatdominated the London and New York scenes

From the first performance which tookplace inside a giant circus-style tent on thebanks of the Avon River the festival workedto create a new aesthetic of Shakespeareanperformance The thrust stage of the FestivalTheatre designed by Tanya Moiseiwitschhas been recognised as one of the greatinnovations in stage design of the 20th centuryGenerations of actors have had to learn howto address an audience on three sides of themsometimes only an armrsquos length away

The festival has been central to the careersof Canadian actors such as ChristopherPlummer Martha Henry and even WilliamShatner Actors from the US and UK havesought to play the festival as well including

Peter Ustinov Christopher Walken and JessicaTandy Indeed these international stars notonly lend credibility but have indelibly markedthe festival For instance Maggie Smithrsquosperformance as Rosalind in As You Like It inthe 1977 and 1978 seasons is legendary in thecompany and the town

Today the festival has expanded to includemultiple performance spaces a theatre schooluniversity accredited courses and the largesttheatrical costume shop in North America

It has started countless careers inspiredcompanies such as Torontorsquos SoulpepperTheatre and helped shape the Canadiantheatre landscape for over 50 years

Stratford Festival ndash Ontario Canada

wwwstratfordfestivalca

MEANWHILE

IN CANADATherersquos more than just one Stratford you knowAnd the one in Ontario Canada has a world-renownedShakespeare Festival gives us a tour

Stratford Ontario

SHAKESPEARE magazine 25

ldquoFrom the fi rst performancethe Festival worked tocreate a new aesthetic ofShakespearean performancerdquo

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Planning to performa short selection

from Shakespeare

The 30-Minute Shakespeare

Anthology contains 18 abridged

scenes including monologues from

18 of Shakespearersquos best-known plays

Every scene features interpretive stage

directions and detailed performance

and monologue notes all ldquoroad testedrdquo

at the Folger Shakespeare Libraryrsquos

annual Student Shakespeare Festival

THE 30-MINUTE SHAKESPEARE is an acclaimed series of abridgments that tell the story of each play while keeping the beauty ofShakespearersquos language intacte scenes and monologues in this anthology have been selected with both teachers and students inmind providing a complete toolkit for an unforgettable performance audition or competition

NICK NEWLIN has performed a comedy and variety act for international audiences for more than 30 years Since 1996 he hasconducted an annual teaching artist residency with the Folger Shakespeare Library in Washington DC

The 30-Minute Shakespeare series is available in print and ebook format at retailersand as downloadable PDFs from 30MinuteShakespearecom

The 30-Minute Shakespeare Anthology

includes one scene with monologue

from each of these plays

ldquoLays the groundwork for a truly fun and sometimes magical

experience guided by a sagacious knowledgeable and intuitive

educator Newlin is a staunch advocate for students learning

Shakespeare through performancerdquo mdashLibrary Journal

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Roaslind Lyons

28 SHAKESPEARE magazine

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For UK artist Rosalind Lyons the Bard is a

constant presence in her creative life She tells

us how Shakespeare inspired the haunting and

dreamlike works that adorn these pages

Words and paintings by Rosalind Lyons

Rosalind Lyons

SHAKESPEARE magazine 29

Left TheRoaring Boys

PAINTINGSHAKESPEARE

S hakespeare has long been at the heart ofmy work sometimes directly and obviouslyin the subjects and often in the titlesBut always Shakespearersquos words charactersand stories are there in my head when Iam painting ndash a perpetual conscious andunconscious presence

My style echoes that of the Renaissancepainters and Elizabethan portraits andthese influences combined with a life-long love of Shakespeare made my firstvisit to Shakespearersquos Globe pivotal Iexperienced a powerful sense of connectionand recognition Here suddenly ideasand themes with which I had been so longpreoccupied were brought to life

I subsequently gained access to theGlobe to draw and later spent some time

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as Artist in Residence thereat experienceprompted more in-depth exploration notonly of Shakespeare and painting but of therelationship between painting and theatreere are of course the strong visualconnections ndash both are spaces for spectacleand illusion But also compelling ideas oftransformation imagination storytelling andidentity And overall the theme of ambiguitye blurring of boundaries between realityand fiction male and female light andshadow past and present I am fascinated byhow we respond to history how we re-presentand re-imagine the past And the figures inmy paintings are imagined as belonging toboth now and then ndash flitting back and forthacross the threshold between past and presentbetween Shakespearersquos time and our own

modern worldI have painted some specific characters

from Shakespeare but many subjects ofmy paintings are anonymouse figuresare unknown their place purpose role is amysteryis anonymity is unsettlingereare clues in the setting in the costumes ndash orperhaps I should just say in the clothes theyare wearing ndash but the context is not obviousI am fascinated by the dramatic convention ofcross-dressing ndash and particularly the inherent

confusion as with Rosalind ( As You Like It )and Viola (Twelfth Night ) in the idea of aboy playing a girl playing a boy Many of thecharacters I invent are androgynous theirgender and age uncertainis ambiguityof identity interests me in the context ofvisual illusion and theatrical transformationthe idea of inbetween-ness and somethingunresolved

Like theatre my paintings are concerned with inventing characters and the creation

Right No MoreYielding But A

Dream

Roaslind Lyons

30 SHAKESPEARE magazine

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of an imaginary world and I am particularlyattracted to the fools fairies and witchesIn A Midsummer Nightrsquos Dream the fairiesrsquoactions may seem malevolent or benign or just mischievous but there is definitely a dark

side an underlying sense of threate Fool too is intriguing Shakespearersquosfools frequently describe themselvesor are referred to as a nobody but areunquestionably much moree fool is anoutsider concerned with but at the same timeseparate from the story He ndash or sometimesshe ndash doesnrsquot quite belong anywhere butseems to exist on the boundary between thefamiliar and the uncanny

I am attracted to the strange to mysteryand shadows and try to express through myimages a strong feeling that it could be thator maybe something else As Orsino says atthe conclusion of Twelfth Night ldquoA naturalperspective that is and is notrdquo While makinga painting and even when it is finished Idonrsquot know really who my characters are ndashthey remain elusive But I like not knowingand ultimately meanings always change anddepend on individual perceptions

My experience at the Globe led to aparticular fascination with the ambiguous and

protean quality of the theatrical performerhow their identity transforms and fluctuatesI was attracted by this when watching

Rosalind Lyons

SHAKESPEARE magazine 31

Above A MidwinterNightrsquos Dream

Right Three Fools

Far right FollowingDarkness

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rehearsals observing actors shift between selfand impersonation between diff erent realitiesand identities When they are not acting theyndash metaphorically and often literally ndash melt

into the shadows I am interested too in thephysical and symbolic threshold between lsquoonrsquoand lsquooff rsquo-stage the transformation inherentin an actor moving from the wings onto thestage assuming another self and anotheridentity Particularly evocative is the fact thatactors were colloquially known as shadowsin the Elizabethan playhouses ndash suggestingsomething unknowable and insubstantialIn the Prologue to Henry V Shakespeare hasthe Chorus describe the players as lsquociphersrsquoimplying deception and secrecy

Artists in the past who have tackledShakespeare have generally produced imagesthat directly illustrate the text or representfamous actors or scenes from a particularperformance Today as well as on the stageShakespearersquos plays are frequently re-imaginedin very successful film and TV adaptationsbut I have struggled to find more than ahandful of contemporary fine artists whohave engaged with Shakespeare on any levelPerhaps Shakespeare as a subject is seen

by some as too traditional too lsquopopularrsquoor simply just too lsquooldrsquo But in the theatreand in literature there is an ever-increasingenthusiasm for innovative interpretationsof the plays and for me Shakespeare is aconstant inspiration

e Prologue of Henry V also urges theaudience to ldquoPiece out our imperfections withyour thoughtsrdquo to liberate the imaginationand create another kind of reality to shapeour own fantasies within the ldquowooden Ordquo of

the theatre In my paintings I endeavour todo the same

Explore the work of Rosalind Lyons atwwwrosalindlyonscom

Above These Two CreaturesBelow Therersquos Magic In Thy Majesty

Roaslind Lyons

32 SHAKESPEARE magazine

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$amp( ) +-01

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Aidan OrsquoReilly

34 SHAKESPEARE magazine

Looking forRichard AidanOrsquoReilly is playingShakespearersquosbaddest monarch

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Aidan OrsquoReilly

SHAKESPEARE magazine 35

You are legally blind having been

diagnosed with retinoblastoma as an

infant How did this impact on your

acting aspirations and early career

ldquoMy parents did a good job raising me Inever grew up thinking of it as a handicap orthinking it could hold me back from what I wanted to do I couldnrsquot play sports at all soI think my parents were grateful that I hadsomething that I was passionate about from avery young age

ldquoI went to a public elementary school with a program designed for the blind so itfelt very natural for me to be the way that I was And acting has always been part of thatrdquo

You went to RADA in London Was

there a reason why you wanted to

train in England and not in the US

ldquoItrsquos always been an ambition of mine to

travel as far and wide as possible Also myhero growing up was Peter OrsquoToole ndash Iread his autobiography in high school andlearned he had gone to RADA and decided I wanted to go there too So I auditioned therenot knowing that RADA is arguably thebest drama school in the English-speaking world Consequently I was quite relaxed atthe audition which is probably why I gotin My ignorance can sometimes serve me well Going to RADA was a life-changing

Aidan OrsquoReilly is an actor with an

inspiring story Legally blind since he

was six months old he forged a passionfor drama at an early age Aidan went

on to gain a BA with honours from

Londonrsquos Royal Academy of Dramatic

Art before touring for three years with

the American Shakespeare Center

In 2012 Aidan was diagnosed with

sarcoma a rare cancer He bounced

back in 2014 after intensive treatment

and is now cancer-free We spoke to

Aidan as he prepared to play the title

role in Richard III for Californiarsquos Marin

Shakespeare Company We asked himto share his story and to give us his

take on one of Shakespearersquos most

fascinating characters

Interview by Jen Richardson

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Aidan OrsquoReilly

36 SHAKESPEARE magazine

experience I was lucky enough to havecontact with brilliant professors and Irsquom stillin awe of the students I went to school withI wouldnrsquot trade that experience for anythingrdquo After graduating from RADA you

went on the road with the American

Shakespeare Center Tell us a bit

about that

ldquoThat was one of the happiest times of mylife In many ways I got spoiled I was a working actor 11 months out of the yeartouring nationally seeing parts of the USI had never been to before doing plays Iloved and working with directors who werevehemently faithful and respectful to the text When I wasnrsquot on the road I was in residenceat the Blackfriars Playhouse in StauntonVirginia with many extraordinary actorsI was very lucky to be thererdquo

Three years ago you were diagnosed

with sarcoma How did you

overcome this enormous challenge

and return to the stage in 2014

ldquoThe only reason Irsquom still alive is because ofmy mother Lily and my wife Jocelynn AlsoI was fortunate that we caught it before it hadspread and it was on my leg and away fromany major organs

ldquoI am very grateful for my team of doctorsat UCSF who did an incredible job in mytreatment and follow-up care Irsquom glad to beback to workrdquo Yoursquore now due to play Richard III

with Marin Shakespeare Company

Howrsquos it going so far

ldquoAt this point Irsquom in the paperwork stage

of things A lot of reading the HenryVI s biographies of Richard as well asperformance history of the play itself Irsquomdoing a fair amount of limping around myapartment as well I canrsquot wait to get intorehearsals next weekrdquo Tell us about Marin Shakespeare

Company and what appealed to you

about working with them

ldquoRobert and Lesley [Currier MSCrsquos Artistic

Director and Managing Director] arefascinating people Their intelligence andhumour is contagious Without questionthere is a lot to be learned from themrdquo Richard IIIrsquos remains were discovered

in 2012 and reburied this year Is all

the new information about Richard

influencing your portrayal

ldquoYes and no My job isnrsquot to play the historicalRichard but the Richard that Shakespeare has

Aidan believesthat Richard IIIrsquosobsession withcontrol is whatcauses his downfall

ldquoPeter OrsquoToole wasmy hero He went to

RADA so I wanted to go there toordquo

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Crowning gloryAidan with MarinShakespearersquosRobert Currier

created Itrsquos helpful to know the facts of thesituation in order to gain insight into whathas been changed in Shakespearersquos versionof events

ldquoI met with a friend of mine who is a

retired surgeon who walked me through themedical information that has come to lighton Richardrsquos body and I will certainly usethat to inform my physical choicesrdquo Unlike many actors yoursquore the right

age to play the historical Richard III

Do you feel Richardrsquos relative youth

has been overlooked

ldquoI do Richard is a young man who believeshe is hardened by the experiences he andhis family endured during the War of theRoses and believes himself to be beyondhuman emotions and the lsquorestrictionsrsquo of aconscience He isnrsquot He pays the bill for thehorrible things he does That lack of self-knowledge is not exclusive to youth but I feelit makes him more sympathetic and relatableto an audiencerdquo Some people think Richard III shows

Shakespeare delivering a highly

effective piece of Tudor propaganda

Where do you stand on thatldquoI think Shakespeare has a soft spot foroutsiders and underdogs Although his playssometimes work within the confines of thebiases of Elizabethan society he canrsquot help butmake his lsquovillainsrsquo fascinating human beings

For as horrible as Richard is itrsquos amazing tosee how audiences relate and respond to himrdquo Which other important themes do

you feel Shakespeare deals with in

the playldquoThe history plays are full of extraordinarypeople who waste their lives and intelligence who sacrifice their humanity in pursuit of thecrown Itrsquos still happening today What is theattraction of power Richard never pauses tothink of why he wants the crown or if hersquodbe any good as king Turns out hersquos not butitrsquos this bizarre obsession with control thatpropels him to kill everyone off thatrsquos in his way Itrsquos also fascinating that the one characterthat is consistently kind to Richard is hisfather York

ldquoI think an argument can be made thatRichard in his warped way is trying to liveup to the image he has of his father Ofcourse York is dead and gone by the timeRichard III begins but you can glean a lotabout Richardrsquos inner workings in the way hespeaks about his father Of course itrsquos foolishto try to answer questions that Shakespearedoesnrsquot and Irsquom not trying to say this solvesa mystery but I think itrsquos interesting Itrsquos only

an element itrsquos not the answerrdquo Richard III is listed as a historical

play in the First Folio but in the

quarto edition it is termed a tragedy

Which category would you put the

play in and why

ldquoI think of the history plays from Richard II to Richard III as one vast play an epic thatencompasses all the categories I think if youlook at Richardrsquos progression through those

plays you see a great mind warped by the War of the Roses and that certainly adds tothe tragic element I think of Richard III asthe final chapter of a great epicrdquo

Aidan OrsquoReilly stars in Marin ShakespeareCompanyrsquos Richard III from 4-27 September

Aidan OrsquoReilly

SHAKESPEARE magazine 37

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Scotland Shakes

SHAKESPEARE magazine 39

Bonnie Prince

Brian Fergusonas Hamlet in theCitizens Theatre

production Photoby Tim Morozzo

Billy William Shakespeare is undoubtedly Englandrsquos

Bard But how is he viewed north of the border

Our Caledonian correspondent surveys the state

of Shakespeare in Scotland and meets esteemed

outdoor theatre company Bard in the Botanics

Words Paul F Cockburn

T owards the end of May thisyear a BBC Scotland afternoon

news bulletin surprisinglyturned its attention to aforthcoming production of

ldquoone of William Shakespearersquos best lovedplaysrdquo ndash A Midsummer Nightrsquos DreamHowever this particular production wasnrsquotconsidered newsworthy because it came froman amateur group based in Dumfries andGalloway Not even that the CrossmichaelDrama Club were one of just seven amateurScottish groups taking part in the Royal

Shakespeare Companyrsquos Open Stages project which aims to help amateur companies

extend their repertoiresNo the lsquohookrsquo was how this newproduction was Shakespeare ldquobut no asyou micht ken itrdquo Because it had beenreimagined in Scots as A MidsimmerNichtrsquos Dreme

As it happens writer John Burns saysthat his principle reason for translating AMidsimmer Nichtrsquos Dreme was simply theintuition that it being in Scots would workto the benefit of the production ldquoItrsquos not

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Scotland Shakes

40 SHAKESPEARE magazine

so much that 16th century English canrsquot docertain things more that using Scots brings itcloser to a Scottish audience and to audiences who might think Shakespeare too fancyrdquo hesays ldquoI feel too that Scots can catch the sheerphysical power of Shakespearersquos language He writes lines you really feel physically when

you say them out loud My intention was touse Scots to produce a text that was actableand which would be accessible and enjoyablefor the audience and the Scots was a majorpart of thatrdquo

Arguably translating Shakespeare intoScots ndash viewed by many as a distinct languagefrom English ndash is just one way of finding thecontinued relevancies of Shakespearersquos writing with the here and now Certainly John Burns was keen to see if Scots ldquocould match the way

Shakespeare switches tonehellip from broad attimes bawdy humour to moments that aremore serious or even sinisterrdquo

Yet there is a wider perspective whether wersquore discussing translation into Scots orsaying Shakespearersquos words with a Scottishaccent Willy Maley and Andrew Murphyin their introduction to Shakespeare andScotland (published by Manchester UniversityPress in 2004) go as far as describing thetranslation of Shakespearersquos Macbeth into

Scots as ldquoa patriotic actrdquo not least becauseof ldquothe political commitment implicit intranslating from English to Scots reversing

the dominant dubbing practice infi

lmsrdquoGlasgow-based novelist and playwright Alan Bissett ndash who actively campaigned fora Yes vote during last yearrsquos IndependenceReferendum ndash has since written about howsince the 1970s Scottish theatre had ldquoadeep engagement with the shifting beastof Scottish politicsrdquo Although Bissett wasfocusing primarily on original works byScottish playwrights and directors itrsquos worthpointing out that Shakespeare ndash despite therebeing absolutely no evidence to prove he evertravelled north of Carlisle ndash has played hisown part in this

As Maley and Murphy point outldquoScotlandhellip never had precisely the samerelationship with the Bard as England hasbut has experienced a fraught process ofappropriation incorporation and resistancerdquoIn part this is because Shakespeare ndash in hislatter career ndash was among the first lsquoBritishrsquo writers Many of his later plays ndash Cymbeline King Lear even Hamlet ndash were produced

A tartan-cladAntipholus andDromio in Bard inthe Botanicsrsquo TheComedy of Errors

Brian FergusonrsquosHamlet CitizensTheatre productionPhoto by TimMorozzo

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under the patronage of Scotlandrsquos King JamesVI (aka James I of England) Each in theirown way can be said to touch on ldquothe matterof Britainrdquo the complex relationship between

the constituent elements of Jamesrsquos newlsquounitedrsquo kingdom which the Stuart monarch was determined to see joined into oneat never quite happened of course

Even after the 1707 Act of UnionScotland retained its own legal educationaland religious systems along with anaccompanying sense of Scottish identity ndash which survived even the height of the Britishempire Yet from the 1970s on there havebeen notable changes in how Shakespeareis treated by Scotlandrsquos producing theatrecompanies Several years ago GlasgowrsquosCitizenseatre delivered a powerful Romeoand Juliet in part because of their decision toset the action in a present-day sectarian Westof Scotland ndash with accents to match

ldquoEnglish-accented Shakespeare carriesa specific resonance in Scotland one thatdirectors usually choose to avoidrdquo pointsout Mark Fisher a freelance journalist criticand author of the forthcoming book How toWrite Abouteatre

ldquoIrsquom not sure exactly when attitudesstarted to change but Irsquod say the argumentin favour of Scottish-accented productionshad been pretty much won by the 1990sBy that time companies such as Raindogand directors such as Hamish Glen hadbeen making a point of casting very Scottishproductions of Shakespearerdquo

One example of how things hadprogressed even by 1992 was the late KennyIrelandrsquos production of A Midsummer

Nightrsquos Dream his first as Artistic Directorat Edinburghrsquos Royal Lyceum ldquoHe castthe mechanicals with Scottish accents andeveryone else with English accentsrdquo MarkFisher explains ldquois I said in my review wasa fundamental error ndash or some such phrasee message it sent out was that people withScottish accents were foolish figures of fun whereas people with English accents wereserious figures of respect

ldquoIreland reacted furiously to my review

and made the case that he had based thecasting of the mechanicals around (the actor) Andy Gray who has a Scottish accent Inother words the meaning I inferred hadnot been deliberate I think itrsquos true to sayhowever that Ireland never cast a Shakespearelike that againrdquo

Gordon Barr is Artistic Director of

Glasgow-based Bard in the BotanicsScotlandrsquos only professional Shakespearecompany (see following pages)

ldquoWersquove never gone out of our way tomake Scottish versions of these texts norhave we gone out of our way to have classicaltraditional voicesrdquo he says ldquoMost of our coreactors have made their careers up here so wethink of them as Scottish actors

ldquoat is important to us to not overlylook outwards for the acting company As

much as possible we work with people who are based in Scotland Wersquore regularlyproducing Shakespeare here and we want tobe a part of the training to ensure that there isa range of strong classical actors hererdquo

Citizens Theatrewwwcitzcouk

Owen Whitehawas the Fool andDavid Hayman asLear in CitizensTheatrersquos King Lear Photo by TimMorozzo

Scotland Shakes

SHAKESPEARE magazine 41

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Bard in theBotanicsrsquo As You Like

It takes Rosalind andOrlando into theopen air

ldquoTouring is something that we have wanted to do foryears but was somethingthat we could not afford

to do without fundingrdquo says Gordon Barr Artistic Director of Scotlandrsquos only professionaloutdoor Shakespeare festival Bard in theBotanics If therersquos any irony attached tothe companyrsquos first major tour of Scotland which took place in early 2015 itrsquos that theperformances of their acclaimed Romeo and Juliet ndash featuring a cast of five ndash were playedexclusively indoors

ldquoNobody is touring classical theatre in

Scotland at the minute so itrsquos importantto usrdquo Barr adds ldquoOur work is so muchabout accessibility One of the joys of beingoutdoors is that people come to see the work who wouldnrsquot buy a ticket for a theatre Ifyou can bring a picnic sit out on the grass while watching the show it feels easier moreaccessible But people canrsquot come from Thursoto Glasgow for a night just to see a productionof Shakespeare They should be able to see itin Thurso So that is kind of where the urge totour came fromrdquo

Bard in the Botanics has presented outdoorShakespeare within the grounds of GlasgowrsquosBotanic Gardens since 2003 This yearrsquoslsquoUnlikely Wondersrsquo season presented newproductions of Loversquos Labourrsquos Lost The Merchant of Venice Richard II and A Midsummer Nightrsquos Dream in lsquoreprsquo between24 June and 1 August

The companyrsquos founder Scott PalmerBarr explains had done a lot of his training atthe Oregon Shakespeare Festival one of the

biggest in North America ldquoWith the kindof drive and enthusiasm that only Americanshave he managed to convince the entire cityof Glasgow that outdoor Shakespeare would work and that the weather wasnrsquot going to be

a problemrdquoTwo years later Palmer moved on and Barr

ndash originally involved as a director ndash succeededhim as Artistic Director ldquoIf anyone then hadsaid that I would end up spending 12 yearsrunning an outdoor Shakespeare festival I wouldnrsquot have believed themrdquo he says in hisoffice hidden behind some of the Botanicsrsquogardening sheds ldquoI very quickly fell in love with it once I started working here Despiteall the trials and tribulations that outdoortheatre in Scotland brings with it therersquos just

something magical and special about it Itrsquos a very close-knit company and thatrsquos sort of keptus all here as long as we have beenrdquo

While the annual summer season ofShakespeare plays in the Botanics will remainat the centre of what the company does ndashldquoOtherwise Bard in the Botanics becomesa rather strange namerdquo ndash Barr is very much

Outof theGarden

This year has seen Glasgowrsquos Bard in the Botanicsdo something completely unexpected They wentout on a tour of ndash whisper it ndash indoor venueshellip

Scotland Shakes

42 SHAKESPEARE magazine

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Scotland Shakes

SHAKESPEARE magazine 43

focused on building on the touring side ldquoBecause it was our first ever tour we

did end up taking Romeo and Juliet to theestablished Scottish touring circuitrdquo he addsldquoIt takes a while to build up relationships with the smaller venues thatrsquos going to bean ongoing process for us Even so we weretaking Romeo and Juliet to places like Mulland Stranraer ndash communities and venues thathavenrsquot had a lot of classical theatre comingthrough themrdquo

The choice of play was deliberate too ldquoIt was a production that was ready to go whichhad received five star reviews and sold out itsextended run in the Botanics in 2012 So weknew that the work was good but therersquos nodoubt that for a first tour we wanted to makeit easier for the venues to sell it Most venuesknow they can find an audience for Romeo and Juliet rdquo

In time he hopes that audiences aroundthe rest of Scotland will come to trust the Bardin the Botanics name sufficiently to take on theless familiar plays

ldquoYou just donrsquot know how quickly acommunity is going to turn out for Henry IV yetrdquo he says ldquoHopefully three or four toursdown the line theyrsquore going to turn out forBard in the Botanics ndash and if it happens to be

Henry IV well thatrsquos greatrdquoGiven their reimagining of A MidsummerNightrsquos Dream as a 1920s burlesque musicalis there a particular Bard in the Botanicsapproach to Shakespeare

ldquoOur kind of unofficial motto is lsquoBe BoldBe Braversquordquo Barr says ldquoIf wersquore continuingto stage these plays around 400 years afterShakespearersquos death I think therersquos an urgencyto ask lsquoWhyrsquo It is important to questionlsquoWhat is the story that we want to tellrsquo I wantto see how these plays intersect with historyand todayrsquos society not to present museumpieces

ldquoItrsquos always with an eye to try to releasesomething thatrsquos within the textrdquo Barrinsists ldquoWersquore not remotely interested ininnovation for innovationrsquos sake The playsare masterpieces thatrsquos essentially why wersquorestill doing them 400 years later But to revealsomething thatrsquos unexpected or new thatrsquosimportant to usrdquo

Bard in the Botanics

wwwbardinthebotanicscouk

Rosalind and Audreyin the forest Bardin the Botanicsrsquo As You Like It

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Shakespeare at the Tobacco Factory stf 2016 Seasonco-production with Tobacco Factory Theatres

HAMLETBy William Shakespeare

Directed by Andrew Hilton

Main run Thu 11 February ndash Sat 26 March 2016

In repertoire with Allrsquos Well That Ends WellMon 25 ndash Wed 27 April Sat 30 April 2016

The most famous play in world drama Hamlet

turns a new face to every decade So many

elements - political madness sex murder ndash all

brought together in a drama that is both a thriller

and the profoundest meditation on our human

condition

ldquoThrilling workrdquo The Guardian on Romeo amp Juliet

ldquoBullseyerdquo WhatsOnStage on Romeo amp Juliet

Shakespeare at the Tobacco Factory Friends Priority Booking opens Wed 23 September 10am

wwwstf-theatreorguk

Tobacco Factory Theatres Members Priority Booking opens Wed 16 September 10am

wwwtobaccofactorytheatrescom

Public Booking opens Wed 30 September 10am

Tobacco Factory Box Office 0117 902 0344

ALLrsquoS WELL THAT ENDS WELLBy William Shakespeare

Directed by Andrew Hilton

Main run Thu 31 March ndash Sat 23 April 2016

In repertoire with Hamlet

Thu 28 ndash Fri 29 April Sat 30 April

A young woman using skills bequeathed herby her father saves the French Kingrsquos life and

is rewarded with the right to choose her own

husband But what if the chosen one wonrsquot play

the game How can she get him into bed How

can she make him love her

ldquo There is something approaching real

magic hererdquo The Arts Desk on The School for Scandal

P h o t o s M

a r k D o u e t

Dorothea MyerBennett in Richard III

Benjamin Whitrowand Julia Hills in The

School For Scandal

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Having conquered

Hollywood and vanquished

the global entertainment

industry video games now

on our culture So where

does the Bard stand in all of

this We sent a Shakespeare

scholar to investigatehellip

Words Andrew Bretz

Shakespeare video games

46 SHAKESPEARE magazine

T eGamersquos A oot Silent Hill is one

big-name gamewhich includesShakespearereferences

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Shakespeare video games

SHAKESPEARE magazine 47

German cardboard Macbeth datingfrom the early1800s

Hamlet reimaginedRyan Northrsquos To Be

Or Not To Be

W

hen you walk intothe wood panelled Victorian Gothicismof the Gail Kern Paster

Reading Room at theFolger Shakespeare Library in WashingtonDC video games are probably the lastthing on your mind Buried deep withinthe archives however are a set of fragilecardboard figures printed in Germany in theearly 1800s representing each of the maincharacters of Macbeth

Nineteenth century German children would play with these figures on smallcardboard stages no bigger than a dollhouseey could replicate the story as it was toldin Shakespeare or use their imagination tochange the ending letting Lady Macbethsurvive and bringing Duncan back from thedead if they so chosee limits of the game were the limits of their imagination

Today the lsquogamificationrsquo of Shakespeareis a big business from Ryan Northrsquos choose-your-own-adventure edition of Hamlet To Be Or Not To Be to IDW Gamesrsquosupcoming Kill Shakespeare board gamebased on the comic of the same name

Gamifying Shakespeare is filtering intoschools libraries and the theatrical worldas well with the University of California atDavis the Stratford Festival in Ontario theGlobeeatre in London and the LondonMetropolitan Archives all experimenting with video game elements in exhibits productionsand research

Why video games In a sense this is thelogical next step in the media development ofShakespeare Hersquos everywhere in other media

books movies merchandise But videogamese answer for that depends on whoyou ask

StorytellingOccasionally individuals or publishinghouses develop video games that try to tellthe story of say Hamlet yet this is relativelyrare One example would be Elsinore a time-looping narrative adventure game set in the world of the play Players play the game as

Ophelia who wakes up knowing that in fourdays the entire court will be dead and shemust do something to stop ite problemis that she is stuck in a time loop reliving thesame four days over and over againat said Shakespearersquos presence in the

video game industry tends to be focused oncitation rather than adaptation of the playsat is video games for Xbox Playstationand other popular gaming systems often

just cite Shakespearersquos plays as a part of acommon cultural heritageese games donrsquotrestage say Hamlet but they quote the playIn these cases Shakespeare is used to establisha point of identification for the audience His writing tells the audience something aboutthe character or the situation

Given that audiences are supposedto be able to identify the quotations asShakespearean it is unsurprising that Hamlet is the most popular text for game designers to

cite Ine Elder Scrolls Online for instancea merchant NPC (non-player character)quotes Polonius when players interact sayingldquoNeither a borrower nor a lender berdquoe words establish the NPCrsquos role as a merchant while fitting the medieval world of thegame In the game LA Noire upon pickingup a fake shrunken head at a crime scene adetective leaps into high melodrama withldquoAlas poor Yorick I knew him Horatiordquoequotation and the clever voice acting establish

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Shakespeare video games

48 SHAKESPEARE magazine

the characterrsquos strait-laced yet macabre senseof humour

Sometimes citing Shakespeare is a partof a critique of a larger theme In the game Mass E ff ect the Elcor are a race of elephantinealiens who preface all statements with adescription of the emotion they are feelingand who speak in a slow monotonous drone As players interact with the expansive worldthey can discover a number of advertisementsfor an all-Elcor Hamlet e idea of theElcor actor ndash the ultimate in a flat woodenperformer ndash having to preface ldquoTo be or not

to berdquo with ldquomorose ruminationrdquo goes beyondthe simple humour of a bad Shakespeareperformance It subtly asks what it is aboutacting (and especially voice acting) that isvaluable

Shakespeare can appear in video gamesnot merely as a marker or contextualisationtool but as a part of a puzzle For example inthe game Silent Hill 3 players must arrange aset of Shakespeare anthologies on a bookshelfin an abandoned shopping mall in order to

proceed in the game At the hardest levelthe puzzle clue takes the form of a poemthat references all the major tragedies Romeoand Juliet King Lear Macbeth Othello andof course Hamlet e bloody nature of thetragedies fits with the bloody nature of theSilent Hill series of games which fall into thesurvival horror genre

Popular video games have also servedas the inspiration for games that engage with Shakespeare in a more direct way For

example Daniel Fischlin at the Universityof Guelph in Ontario Canada led a teamthat created a Flash game called rsquoSpeare Itrsquos

a scrolling arcade-style game suggesting thersquo80s hit Galaga which sees players identifyingand navigating through a series of enemies who turn into words upon being destroyede player progresses through the levelsby collecting the correct words to createShakespearean quotes learning Shakespeareantrivia along the way

ImmersionOne of the most exciting aspects of videogames is the ability to immerse the player inthe world of the game in a way that othermedia simply cannot do Being able to walkaround Prosperorsquos cell Julietrsquos balcony orto stand before the ghost of Hamletrsquos fatheras he cries out ldquoList list O listrdquo ndash theseexperiences are made possible through videogame technology

Students of Scenic Arts at the Universityof Hildesheim in Germany created Projekt ARIEL or SturmMOD in 2008 using a lsquomodrsquo(or modification) to the engine that runs

the game Far Cry 1 e performance artproject allowed users to experience Prosperorsquosisland interacting with certain parts andexploring others Players could walk aroundan imaginative rendition of Prosperorsquos cell and witness or interact with elements of the playincluding diff erent characters like CalibanProspero and Miranda

Four days to savethe Danish court

Elsinore

Another Hamlet reference this timein LA Noire

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Shakespeare video games

SHAKESPEARE magazine 49

Gina Bloom at the University of Californiaat Davis is presently spearheading a projectthat will be demonstrated in the lobby of theStratford Festival theatre in Ontario Canadathis summere project Play the Knave AShakespeare Performance Videogame lets usersdesign a virtual performance space and thenperform a scene from a Shakespeare playinhabiting this constructed space with anavatar As a Davis insider explains ldquoWe use akinect motion capture camera to capture theuserrsquos skeletal data so that players use theirentire bodies to control their avatarrsquos gesturesonscreen all the while reciting the lines from

Shakespearersquos scenerdquo is literally immersesthe players in the scene

Shakespearersquos Globe eatre in Londontook another tactic regarding immersionin the production of the game HemmingsrsquoPlay Company Hosted on the Playgroundportion of the Globersquos website and thusaimed at an audience of children the gamehas players taking on the role of Hemmingsan Elizabethan bear who leads a troupe oftheatrical animals such as Kit the Cat Dekker

the Dog and Slye the Foxe turn-based game leads players through

the vagaries of Elizabethan theatre practicefrom patronage to lost props and the plagueBy the end of the game players must earnenough money to rebuild the Globe after itburns down during a performance of HenryVIII

Also from Shakespearersquos Globe are twoinnovative video experiences created forchildren aged five to 11 e first Exploring

Shakespeare features two boys on a tour ofthe Globe theatre who sneak off to explorebackstage e video illustrates four plays

using short animations that are keyedto things the boys find backstage etechnology combines live action film andanimation to create an interactive touchablegame Filled with mini-games quizzes andinteresting facts about Shakespeare the gameallows players to click through the narrativeor to stop and learn more as they go along

e second video called Staging It usesthe same technology as the first film but thistime is for the 11-16 age group In this gamee Globe has filmed two actors performingfamous duologues from A MidsummerNightrsquos Dream and Macbeth on the Globestage Rather than shoot it once the actorshave performed their lines in diff erent ways(happy flirtatious defensive and so on)creating several diff erent clips per linePlayers can watch each of the clips and addtheir choice to a dynamic storyboard tobuild up their final scene Impressively theplatform allows for up to 1000000 diff erentcombinations of clips

Apps and Mini-GamesItrsquos when you start to look outside of therealm of popular video game platformslike Xbox or Playstation that Shakespeare

Silent Hill 3 Brush upyour Shakespeare ifyou want to survive

Hemmingsrsquo PlayCompany fromShakespearersquosGlobe

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Shakespeare video games

50 SHAKESPEARE magazine

really starts to pop up wherever you looke ubiquity of Shakespeare is especiallynoticeable when you start to look at apps andmini-games designed for phones and tablets

In 2012 Big Fish Games released aniPhone and iPad game called Hamlet that featured all the main characters ofShakespearersquos play but transposed them intoa save-the-princess narrative puzzle game A time traveller lands in Denmark andaccidentally kills Hamlet and so players mustcomplete his journey for him saving Opheliaand killing Claudiuse Shakespeareancontent is minimal and heavily adapted andyet it fits with the puzzle format in whichShakespeare tends to be found in videogamese Chronicles of Shakespeare Romeo amp

Juliet ande Chronicles of Shakespeare A Midsummer Nightrsquos Dream are lusciously-illustrated puzzle games for the PC In themplayers act as one of the characters from theplays gathering items and clues through aShakespearean environment

Among the literally thousands of appsrelated to Shakespeare that can be found forthe iPad or Android tablet are

e Shakespearean Insult Creator which generates invectives drawn from a wholly Shakespearean vocabulary So nexttime you want to call someone a jerk trysomething more like ldquoou fusty follyfallenfustilarianrdquo

e Shakespeare Translator whichtranslates ldquonormal English words and phrasesinto the words of Shakespeare himselfrdquo

e Shakespeare Fortune Cookie which provides short quotes from the plays

and a small trivia game Shakespeare or Die a game that

scrambles the words of famous quotationsfrom the plays and asks you to identify theplay and character who spoke the line If youmake a mistake however beware the witchesese apps are either explicitly games or

they are coming out of a game-like impulse tomake Shakespeare more accessible to everyone with an internet connection

Brave New WorldsIn a world where Shakespeare is an industrycounted in the millions of dollars per yearit is so easy to forget that Shakespearersquos playsare just that ndash playsere is a sense of joyand fun and happiness embedded in theexperience of watching them Games are oneof the ways that people over the centuries

have tried to recapture that elusive sense ofplayfulness within Shakespeare So it makesperfect sense that now with the advent ofdigital technologies Shakespeare is movinginto the digital world with a vengeance

From big studio games likee ElderScrolls to small apps that can be downloadedfor free from talking bears to immersiveperformance experiences Shakespeare iseverywhere in video games Rather than beingan undiscovered country into which the Bard

is only just beginning to emerge games havein fact engaged with Shakespeare and his works for hundreds of years And they willprobably continue to do so for hundreds ofyears to come

rsquoSpeare is a scrollingarcade-stylegame with addedShakespeare trivia

Hamlet is aShakespeare-themed puzzle fromBig Fish Games

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Meet thy makers

Helen Mears fell into bardolatryduring her teenage years and has

never recovered She is a volunteersteward at Shakespearersquos Globe

which ensures a regular diet of theBard She teaches English Film andMedia at Suffolk New College and isa specialist in teaching Shakespeareusing active methods Her favouriteShakespearean actor is Jamie Parker

and her favourite plays are the SecondHistory Tetralogy She hopes to

finish her Masters in the AdvancedTeaching of Shakespeare very soonFind her on Twitter hipster_hels

Paul F Cockburn is an Edinburgh-based freelance magazine journalist who specialises in writing about

arts and culture equality issues andpopular science Hersquos sufficiently

grey-haired for his English Literaturetraining to have sort of overlapped

with The BBC Television Shakespeareproject saving at least some of the

plays from death by academiaFind him on Twitter paulfcockburn

Jen Richardson first fell in love withShakespeare as a 15-year-old schoolgirl

ldquoHe got under my skin and hersquos still theretodayrdquo After training with a Manchester-based drama tutor she went on to pursuean acting career Drama remains a greatinterest but her focus is now on sharing

her passion for Shakespeare throughher writing In her spare time Jen is

generally down in Stratford-upon-Avonsitting on her favourite bench behind

Holy Trinity ChurchFind her on Twitter The_JenJen

Andrew Bretz is a sessional instructorof English Literature and Drama

specialising in early modern dramaHe has taught at Wilfrid LaurierUniversity the University of Guelph

Brock University and McMasterUniversity For the past two years he

has taught a special summer intensiveat Ontariorsquos Stratford Festival His PhDdissertation was on the representationof sexual violence on the early modern

stage Find him on TwitterAndrewBretz001

Just some of the contributors to this issue of Shakespeare Magazine

Rosalind Lyons is a painter whohas exhibited widely in both mixedand solo shows with work in UK

and international private collections A life-long love of Shakespeare isreflected in many of her paintings

and a particular recent focus isShakespearersquos Globe theatre where shespent a period as artist-in-residenceShe is currently studying for a PhD

in Painting and ShakespeareanTheatre at Anglia Ruskin University

in CambridgeFind her on Twitter roslyons

52 SHAKESPEARE magazine

Contributors

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Page 15: Shakespeare Magazine 08

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Benedict Cumberbatch

16 SHAKESPEARE magazine

ldquoAnd yet to me whatis this quintessence

of dustrdquo [II 2]

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Even more than London there

is one place above all that is

green and pleasant landhellip

Words Helen Mears

Pictures Helen Mears and Susan Braund

Stratford-upon-Avon

SHAKESPEARE magazine 19

W e could be in any smallpicturesque Englishtown with its medievalchurch half-timberedTudor buildings shops

restaurants and delightful riverside walksBut Stratford-upon-Avon is not just any

town Itrsquos one of the best-known most- visited and probably most-loved locations inEngland Thatrsquos because itrsquos the birthplace of William Shakespeare Itrsquos also the place heseems to have considered his home After allShakespeare grew up there went to schoolthere and spent his final days there

So here is Shakespeare Magazinersquos on-the-ground guide to Stratford-upon-Avon Hereyoursquoll find hints and tips for first-time visitorsand returning aficionados alike What to see

the best ways to see it where to stay where toeat and how to get around while yoursquore there Are you ready Then letrsquos start our tourhellip

The BirthplaceSurely the must-visit spot for any self-respecting Bardolator this is where it all beganndash the six-roomed Merchantrsquos House on HenleyStreet where in April 1564 Mary Shakespeare wife of glover John gave birth to their famousson Williame house is approached

HOME

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20 SHAKESPEARE magazine

through the Shakespeare Centre on the left-hand side of the Birthplace A short exhibitionshows you items such as a prized First Folioand the foot of Stratfordrsquos Old Market Cross

from where glover John Shakespeare wouldhave sold his wares A walk through the gardens leads to

the house itself You enter through theself-contained annexe where William and Anne Shakespeare spent the first years oftheir married life and where their childrenSusannah Judith and Hamnet were born eannexe was later occupied by Williamrsquos sister Joan You can walk through the parlour andthe dining room to Johnrsquos workshop where heproduced gloves and other leather goods

A staircase leads to two bedrooms onefor the girls one for the boys and a loft spaceis visible where the apprentices would haveslept Finally you reach the birth room themain bedroom in which William and his sevensiblings were born

Guides are on-hand in all rooms to tell youtheir history and other gems of informationComplete your visit by watching classicShakespearean speeches performed in thegarden by resident acting troupe Shakespeare

Aloud and then picking up some souvenirs inthe gift shop and excellent bookshop

e five house ticket is the best value givingyou entry to all of the properties (HarvardHouse is a current alternative to New Place)and allowing you to view Shakespearersquos Gravein Holy Trinity Church

The Avon and Boat trips A walk along the Avon is a must in any seasone gentle stroll from the RSC to Holy Trinity

Church will take you past drooping willowssmoothly sailing swans and green parklandFor a diff erent perspective on the town you cantake a boat trip along the river itself Startingfrom near the RSCeatre you cruise gentlydown to the church where Shakespeare wasbaptised and buried before turning back andheading past the theatre and under CloptonBridge Itrsquos a bridge that William himself would have known built as it was around1480 e Avon is very pretty everywhere

you look are the incredible tame (and alwayshungry) swans and picturesque houseboatse banks are lined with weeping willows that just might have been the inspiration for poorOpheliarsquos watery end in Hamlet If you wouldrather take a slower self-driven trip there arerowing boats canoes and small speedboatsfor hire Beware though these are not aseasy to control as they look and you may wellspend a good proportion of your allottedtime relearning how to row and avoiding

Stratford-upon-Avon

The birth roomat ShakespearersquosBirthplace

Molly fromShakespeare Aloudin the Birthplacegarden

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SHAKESPEARE magazine 21

other hapless river tra ffic Boat trips typicallylast for around 40 minutes and are especiallypleasant in the late afternoon when the sun setsslowly behind the church steeple For addedluxury you can take a restaurant cruise where

afternoon tea or an evening meal are served onboard or as a quicker cheaper alternative youcould take the chain ferry across the Avoneferry dates from 1937 and is the last of its kindin the UK

Nash House and New Place

As well as the Henley Street property theShakespeare Birthplace Trust care for fourother locations in and around Stratford allassociated with Williamrsquos family Nash House

and New Place were adjoining propertieseformer was the home of Judith Shakespeareand her husband while the latter was thefamily home that William purchased in 1597at the time the second most expensive housein the town Sadly it was demolished by asubsequent owner but the Trust are currentlyundertaking a massive renovation of the siteis means that the properties will not be opento the public until 2016 to coincide with the400th anniversary of Shakespearersquos death

Hallrsquos Croft

A brief walk from New Place will take youto Hallrsquos Croft the home of SusannahShakespeare and her husband the physician John Hallis is an interesting property in its

own right and is partly set up to show how apractising physician would have worked at thetime A special mention too must goe Arterthe award winning independent craft shopadjoining the building and to the beautifulgarden in which open air performances ofShakespearersquos plays are sometimes performed

Stratford-upon-Avon

Holy TrinityChurch viewedfrom the Avon

Nash House andNew Place

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22 SHAKESPEARE magazine

Anne Hathawayrsquos Cottage A short distance from Stratford is Shottery where you can find the beautiful cottage

which was the home of the Hathaway familySet in yet another lovely garden this is thehouse in which Anne Hathaway grew upand was courted by the young William JohnShakespeare served with Anne Hathawayrsquosfather on the town council so their childrenprobably knew each other from a young agee family remained associated with thecottage for several centuries and have spunmany a yarn about the young lovers theveracity of which are highly questionable

However the stone floor of the kitchen isoriginal and we know that William must have walked those stones many many times

Mary Ardenrsquos Farme last of the Shakespeare properties is Mary Ardenrsquos Farm Shakespearersquos mother lived hereand itrsquos where she probably took the infant William when plague broke out in Stratfordshortly after his birth Open from March toNovember only the farm is run as a working

Tudor farm with costumed guides caring forthe buildings and the animals Itrsquos a great placefor a family day out with plenty to see and doand numerous activities runningere are

daily falconry shows archery animals to feedand games to play You can even treat yourselfto a genuine Tudor meal in the cafe ndash pottageand home-baked breads are a speciality

What if you donrsquot have a care town itself is fairly small and all themain attractions are within walking distanceHowever the easiest way to get around and toenable a visit to Anne Hathawayrsquos Cottage andMary Ardenrsquos farm is to the Hop On-Hop Off City Sightseeing busis will take you to allthe main town locations and also to Shotteryand Wilmcote A day ticket will give youunlimited access to the buses and allow you tovisit all of the Shakespeare properties e buscan be picked up by the statue of Touchstonethe jester at the top end of Henley Street

Walking Tours Another excellent way to see the main sites ofStratford and to learn some of the historicaltales of the town is to take a walking tour

Stratford-upon-Avon

Anne HathawayrsquosCottage

Mary Ardenrsquos Farm

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ere are several options depending on thetype of tour yoursquod likee town guides runhistorical tours of the town every day (yesevery day) of the year For those who like to be

a bit more daring there are evening ghost walksled by costumed guides who will tell you someof the spooky tales of Stratford Both of thesetours start from the Swan Water Fountain onthe riverside

Or if you like the idea of being guidedby Shakespeare himself on a Saturday (andMonday to Saturday through the summerholidays) there are town walks led by the manhimself (or someone who looks an awful lotlike him)ese run from Tudor World onSheep Street an interesting museum in thehouse that belonged to the man who wasallegedly the model for Sir John Falsta ff

Holy Trinity Church Another must-see is the townrsquos 13th centurychurch with its distinctive spire that dominatesthe view from the river Remember that if youhave a ticket to the Birthplace properties yourvisit to the grave is free e church is famousfor being where William Shakespeare wasbaptised on 26 April 1564 e old font that

was used for the baptism is displayed in thechancel along with copies of both the registerof baptism for April 1564 and the register ofburials for April 1616 where Shakespearersquosname can be clearly seen Also in the chancelin front of the altar are the Shakespeare familygraves Williamrsquos bears its infamous curse

ldquoGOOD FRIEND FOR JESUSSAKE FOREBEAR

TO DIGG THE DVST

ENCLOSED HEREBLESTE BE YE MAN YT SPARESTHESE STONES

AND CURSED BE HE YT MOVESMY BONESrdquo

On the wall above the grave is the effigy of

Shakespeare Itrsquos one of the few images which was produced within the lifetime of AnneShakespeare and probably one of the mostauthentic likenesses of her husband

The Guildhall and King EdwardrsquosSchoolDirectly opposite the site of New Place standthe Guildhall and the townrsquos old grammarschool Both of these places have links to theShakespeare family King Edwardrsquos Schoolis where the young William is believed tohave studied and itrsquos probably where hefirst encountered the classical texts which soinspired him As the son of a town councillorhe would have been entitled to a placee

old school is sometimes open to visitors at weekends or during the holidays but theschool has just won a lottery grant whichshould enable them to open it as a permanentattraction e Guildhall was sometimes hostto groups of travelling players and so it couldbe the site where young William first sawtheatrical performances It is widely believedthat John Shakespeare owing to his role astown bailiff was responsible for supervising the whitewashing of the medieval Doom Painting

Stratford-upon-Avon

SHAKESPEARE magazine 23

The GuildhallDoom Painting

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24 SHAKESPEARE magazine

Stratford-upon-Avon

is has been recovered and is now once againvisible above the chancel arch

The Royal Shakespeare CompanyTheatre and the riversidee riverside park is home to several interestingsights It is from here that you can get a view ofthe Clopton Bridge pick up a river cruise feedthe swans and admire the Gower Memoriale memorial was presented to the town in1888 and features a statue of Shakespeareseated upon a plinth overlooking statues offour of his best known charactersese areHamlet Prince Hal Sir John Falsta ff and Lady

Macbeth who represent Comedy HistoryPhilosophy and Tragedy Closer to the theatreis the beautiful Swan Water Fountain unveiledin 1996 If you see the water frothing fear notit seems to be a sport amongst local youngstersto fill the fountain with washing up liquid on aregular basis

e Royal Shakespeare Companyeatre was built in 1932 but has recently undergonea complete refurbishment in both the mainand the Swan theatres e building reopened

in 2010 with both theatres having beenconverted to boast thrust stages and curvedgalleries similar in shape to the originalElizabethan playhousese world renowned

Royal Shakespeare Company performshere throughout the year staging plays byShakespeare and his contemporaries as well asby newer authors ey also run an educationprogramme exhibitions family activitiesduring the school holidays and theatre toursTo see Stratford from an entirely diff erentangle take the lift up the 36 metre high towerfor spectacular views across the town

Where to eat and drinkStratford has an excellent range of eateriesto suit all tastes and budgets ere is pubgrub afternoon teas world cuisine finedining pizza pasta and fish and chips Manyrestaurants off er pre-theatre menus and ifyoursquove been on a town walk you may find thatyou can get discount vouchers for your foodere are many pubs in Stratford including theGarrick Inn the oldest pub in the town whereyou can taste the Shakesbeer specially brewedto celebrate Shakespearersquos 450th Birthday in2014 If you want to spot RSC cast members

relaxing after their showse Dirty Duck on Waterside is the place to drink

Where to stay Again Stratford-upon-Avon has a good varietyof hotels bed and breakfasts and holidayhomes All the main chains have hotels inthe town from budget brands to the luxurynamesere is an excellent choice of bedand breakfast establishments in and aroundthe town again these will suit all tastes and

budgets Airbnb also has an interesting rangeof rooms flats and houses to rent in StratfordHowever be sure to book early especially forthe prime summer months

The Shakespeare Birthplace Trustwwwshakespeareorguk

The GowerMemorial Will andPrince Hal

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M

any places around the worldhave been named afterStratford-upon-Avon thebirthplace and home of William

Shakespeare And many of those Stratfordsare home to theatre festivals of varying sizesStratford in the state of Victoria in Australiahas an annual Shakespeare festival still goingevery year while Stratford in Connecticut inthe USA had a major theatre from the mid1950s to the mid 1980s Stratford Ontarioin Canada however stands out among thesetowns and festivals not merely in scope but ininternational reputation and prestige

In 1950 Canada had no home-growntradition of classical theatre Certainly

Shakespeare was performed but there hadbeen a strong anti-theatrical movement inCanada throughout the 19th century whoseeffects still lingered throughout the first half ofthe 20th As a cultural icon Shakespeare wasedifying to be sure but certainly not to beperformed The Stratford Festival changed allof that for Canada

In the late 1940s the local newspapers andgovernment of the town conceived of the ideaof revitalising Stratfordrsquos sagging economy by

capitalising on the name of the town and its

long association with the Bard They bandedtogether and under the leadership of TomPatterson they brought over Tyrone Guthrieand Alec Guinness for the first season in1953 Guthrie had famously directed Gielgud

inHamlet

at Elsinore Castle in Denmarkand had been the manager of the Old Vic inLondon He wanted to create an acting spacethat echoed the original Globe theatre whereactors were surrounded by the audience incontrast to the proscenium arch theatres thatdominated the London and New York scenes

From the first performance which tookplace inside a giant circus-style tent on thebanks of the Avon River the festival workedto create a new aesthetic of Shakespeareanperformance The thrust stage of the FestivalTheatre designed by Tanya Moiseiwitschhas been recognised as one of the greatinnovations in stage design of the 20th centuryGenerations of actors have had to learn howto address an audience on three sides of themsometimes only an armrsquos length away

The festival has been central to the careersof Canadian actors such as ChristopherPlummer Martha Henry and even WilliamShatner Actors from the US and UK havesought to play the festival as well including

Peter Ustinov Christopher Walken and JessicaTandy Indeed these international stars notonly lend credibility but have indelibly markedthe festival For instance Maggie Smithrsquosperformance as Rosalind in As You Like It inthe 1977 and 1978 seasons is legendary in thecompany and the town

Today the festival has expanded to includemultiple performance spaces a theatre schooluniversity accredited courses and the largesttheatrical costume shop in North America

It has started countless careers inspiredcompanies such as Torontorsquos SoulpepperTheatre and helped shape the Canadiantheatre landscape for over 50 years

Stratford Festival ndash Ontario Canada

wwwstratfordfestivalca

MEANWHILE

IN CANADATherersquos more than just one Stratford you knowAnd the one in Ontario Canada has a world-renownedShakespeare Festival gives us a tour

Stratford Ontario

SHAKESPEARE magazine 25

ldquoFrom the fi rst performancethe Festival worked tocreate a new aesthetic ofShakespearean performancerdquo

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Planning to performa short selection

from Shakespeare

The 30-Minute Shakespeare

Anthology contains 18 abridged

scenes including monologues from

18 of Shakespearersquos best-known plays

Every scene features interpretive stage

directions and detailed performance

and monologue notes all ldquoroad testedrdquo

at the Folger Shakespeare Libraryrsquos

annual Student Shakespeare Festival

THE 30-MINUTE SHAKESPEARE is an acclaimed series of abridgments that tell the story of each play while keeping the beauty ofShakespearersquos language intacte scenes and monologues in this anthology have been selected with both teachers and students inmind providing a complete toolkit for an unforgettable performance audition or competition

NICK NEWLIN has performed a comedy and variety act for international audiences for more than 30 years Since 1996 he hasconducted an annual teaching artist residency with the Folger Shakespeare Library in Washington DC

The 30-Minute Shakespeare series is available in print and ebook format at retailersand as downloadable PDFs from 30MinuteShakespearecom

The 30-Minute Shakespeare Anthology

includes one scene with monologue

from each of these plays

ldquoLays the groundwork for a truly fun and sometimes magical

experience guided by a sagacious knowledgeable and intuitive

educator Newlin is a staunch advocate for students learning

Shakespeare through performancerdquo mdashLibrary Journal

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Roaslind Lyons

28 SHAKESPEARE magazine

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For UK artist Rosalind Lyons the Bard is a

constant presence in her creative life She tells

us how Shakespeare inspired the haunting and

dreamlike works that adorn these pages

Words and paintings by Rosalind Lyons

Rosalind Lyons

SHAKESPEARE magazine 29

Left TheRoaring Boys

PAINTINGSHAKESPEARE

S hakespeare has long been at the heart ofmy work sometimes directly and obviouslyin the subjects and often in the titlesBut always Shakespearersquos words charactersand stories are there in my head when Iam painting ndash a perpetual conscious andunconscious presence

My style echoes that of the Renaissancepainters and Elizabethan portraits andthese influences combined with a life-long love of Shakespeare made my firstvisit to Shakespearersquos Globe pivotal Iexperienced a powerful sense of connectionand recognition Here suddenly ideasand themes with which I had been so longpreoccupied were brought to life

I subsequently gained access to theGlobe to draw and later spent some time

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as Artist in Residence thereat experienceprompted more in-depth exploration notonly of Shakespeare and painting but of therelationship between painting and theatreere are of course the strong visualconnections ndash both are spaces for spectacleand illusion But also compelling ideas oftransformation imagination storytelling andidentity And overall the theme of ambiguitye blurring of boundaries between realityand fiction male and female light andshadow past and present I am fascinated byhow we respond to history how we re-presentand re-imagine the past And the figures inmy paintings are imagined as belonging toboth now and then ndash flitting back and forthacross the threshold between past and presentbetween Shakespearersquos time and our own

modern worldI have painted some specific characters

from Shakespeare but many subjects ofmy paintings are anonymouse figuresare unknown their place purpose role is amysteryis anonymity is unsettlingereare clues in the setting in the costumes ndash orperhaps I should just say in the clothes theyare wearing ndash but the context is not obviousI am fascinated by the dramatic convention ofcross-dressing ndash and particularly the inherent

confusion as with Rosalind ( As You Like It )and Viola (Twelfth Night ) in the idea of aboy playing a girl playing a boy Many of thecharacters I invent are androgynous theirgender and age uncertainis ambiguityof identity interests me in the context ofvisual illusion and theatrical transformationthe idea of inbetween-ness and somethingunresolved

Like theatre my paintings are concerned with inventing characters and the creation

Right No MoreYielding But A

Dream

Roaslind Lyons

30 SHAKESPEARE magazine

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of an imaginary world and I am particularlyattracted to the fools fairies and witchesIn A Midsummer Nightrsquos Dream the fairiesrsquoactions may seem malevolent or benign or just mischievous but there is definitely a dark

side an underlying sense of threate Fool too is intriguing Shakespearersquosfools frequently describe themselvesor are referred to as a nobody but areunquestionably much moree fool is anoutsider concerned with but at the same timeseparate from the story He ndash or sometimesshe ndash doesnrsquot quite belong anywhere butseems to exist on the boundary between thefamiliar and the uncanny

I am attracted to the strange to mysteryand shadows and try to express through myimages a strong feeling that it could be thator maybe something else As Orsino says atthe conclusion of Twelfth Night ldquoA naturalperspective that is and is notrdquo While makinga painting and even when it is finished Idonrsquot know really who my characters are ndashthey remain elusive But I like not knowingand ultimately meanings always change anddepend on individual perceptions

My experience at the Globe led to aparticular fascination with the ambiguous and

protean quality of the theatrical performerhow their identity transforms and fluctuatesI was attracted by this when watching

Rosalind Lyons

SHAKESPEARE magazine 31

Above A MidwinterNightrsquos Dream

Right Three Fools

Far right FollowingDarkness

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rehearsals observing actors shift between selfand impersonation between diff erent realitiesand identities When they are not acting theyndash metaphorically and often literally ndash melt

into the shadows I am interested too in thephysical and symbolic threshold between lsquoonrsquoand lsquooff rsquo-stage the transformation inherentin an actor moving from the wings onto thestage assuming another self and anotheridentity Particularly evocative is the fact thatactors were colloquially known as shadowsin the Elizabethan playhouses ndash suggestingsomething unknowable and insubstantialIn the Prologue to Henry V Shakespeare hasthe Chorus describe the players as lsquociphersrsquoimplying deception and secrecy

Artists in the past who have tackledShakespeare have generally produced imagesthat directly illustrate the text or representfamous actors or scenes from a particularperformance Today as well as on the stageShakespearersquos plays are frequently re-imaginedin very successful film and TV adaptationsbut I have struggled to find more than ahandful of contemporary fine artists whohave engaged with Shakespeare on any levelPerhaps Shakespeare as a subject is seen

by some as too traditional too lsquopopularrsquoor simply just too lsquooldrsquo But in the theatreand in literature there is an ever-increasingenthusiasm for innovative interpretationsof the plays and for me Shakespeare is aconstant inspiration

e Prologue of Henry V also urges theaudience to ldquoPiece out our imperfections withyour thoughtsrdquo to liberate the imaginationand create another kind of reality to shapeour own fantasies within the ldquowooden Ordquo of

the theatre In my paintings I endeavour todo the same

Explore the work of Rosalind Lyons atwwwrosalindlyonscom

Above These Two CreaturesBelow Therersquos Magic In Thy Majesty

Roaslind Lyons

32 SHAKESPEARE magazine

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$amp( ) +-01

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Aidan OrsquoReilly

34 SHAKESPEARE magazine

Looking forRichard AidanOrsquoReilly is playingShakespearersquosbaddest monarch

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Aidan OrsquoReilly

SHAKESPEARE magazine 35

You are legally blind having been

diagnosed with retinoblastoma as an

infant How did this impact on your

acting aspirations and early career

ldquoMy parents did a good job raising me Inever grew up thinking of it as a handicap orthinking it could hold me back from what I wanted to do I couldnrsquot play sports at all soI think my parents were grateful that I hadsomething that I was passionate about from avery young age

ldquoI went to a public elementary school with a program designed for the blind so itfelt very natural for me to be the way that I was And acting has always been part of thatrdquo

You went to RADA in London Was

there a reason why you wanted to

train in England and not in the US

ldquoItrsquos always been an ambition of mine to

travel as far and wide as possible Also myhero growing up was Peter OrsquoToole ndash Iread his autobiography in high school andlearned he had gone to RADA and decided I wanted to go there too So I auditioned therenot knowing that RADA is arguably thebest drama school in the English-speaking world Consequently I was quite relaxed atthe audition which is probably why I gotin My ignorance can sometimes serve me well Going to RADA was a life-changing

Aidan OrsquoReilly is an actor with an

inspiring story Legally blind since he

was six months old he forged a passionfor drama at an early age Aidan went

on to gain a BA with honours from

Londonrsquos Royal Academy of Dramatic

Art before touring for three years with

the American Shakespeare Center

In 2012 Aidan was diagnosed with

sarcoma a rare cancer He bounced

back in 2014 after intensive treatment

and is now cancer-free We spoke to

Aidan as he prepared to play the title

role in Richard III for Californiarsquos Marin

Shakespeare Company We asked himto share his story and to give us his

take on one of Shakespearersquos most

fascinating characters

Interview by Jen Richardson

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Aidan OrsquoReilly

36 SHAKESPEARE magazine

experience I was lucky enough to havecontact with brilliant professors and Irsquom stillin awe of the students I went to school withI wouldnrsquot trade that experience for anythingrdquo After graduating from RADA you

went on the road with the American

Shakespeare Center Tell us a bit

about that

ldquoThat was one of the happiest times of mylife In many ways I got spoiled I was a working actor 11 months out of the yeartouring nationally seeing parts of the USI had never been to before doing plays Iloved and working with directors who werevehemently faithful and respectful to the text When I wasnrsquot on the road I was in residenceat the Blackfriars Playhouse in StauntonVirginia with many extraordinary actorsI was very lucky to be thererdquo

Three years ago you were diagnosed

with sarcoma How did you

overcome this enormous challenge

and return to the stage in 2014

ldquoThe only reason Irsquom still alive is because ofmy mother Lily and my wife Jocelynn AlsoI was fortunate that we caught it before it hadspread and it was on my leg and away fromany major organs

ldquoI am very grateful for my team of doctorsat UCSF who did an incredible job in mytreatment and follow-up care Irsquom glad to beback to workrdquo Yoursquore now due to play Richard III

with Marin Shakespeare Company

Howrsquos it going so far

ldquoAt this point Irsquom in the paperwork stage

of things A lot of reading the HenryVI s biographies of Richard as well asperformance history of the play itself Irsquomdoing a fair amount of limping around myapartment as well I canrsquot wait to get intorehearsals next weekrdquo Tell us about Marin Shakespeare

Company and what appealed to you

about working with them

ldquoRobert and Lesley [Currier MSCrsquos Artistic

Director and Managing Director] arefascinating people Their intelligence andhumour is contagious Without questionthere is a lot to be learned from themrdquo Richard IIIrsquos remains were discovered

in 2012 and reburied this year Is all

the new information about Richard

influencing your portrayal

ldquoYes and no My job isnrsquot to play the historicalRichard but the Richard that Shakespeare has

Aidan believesthat Richard IIIrsquosobsession withcontrol is whatcauses his downfall

ldquoPeter OrsquoToole wasmy hero He went to

RADA so I wanted to go there toordquo

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Crowning gloryAidan with MarinShakespearersquosRobert Currier

created Itrsquos helpful to know the facts of thesituation in order to gain insight into whathas been changed in Shakespearersquos versionof events

ldquoI met with a friend of mine who is a

retired surgeon who walked me through themedical information that has come to lighton Richardrsquos body and I will certainly usethat to inform my physical choicesrdquo Unlike many actors yoursquore the right

age to play the historical Richard III

Do you feel Richardrsquos relative youth

has been overlooked

ldquoI do Richard is a young man who believeshe is hardened by the experiences he andhis family endured during the War of theRoses and believes himself to be beyondhuman emotions and the lsquorestrictionsrsquo of aconscience He isnrsquot He pays the bill for thehorrible things he does That lack of self-knowledge is not exclusive to youth but I feelit makes him more sympathetic and relatableto an audiencerdquo Some people think Richard III shows

Shakespeare delivering a highly

effective piece of Tudor propaganda

Where do you stand on thatldquoI think Shakespeare has a soft spot foroutsiders and underdogs Although his playssometimes work within the confines of thebiases of Elizabethan society he canrsquot help butmake his lsquovillainsrsquo fascinating human beings

For as horrible as Richard is itrsquos amazing tosee how audiences relate and respond to himrdquo Which other important themes do

you feel Shakespeare deals with in

the playldquoThe history plays are full of extraordinarypeople who waste their lives and intelligence who sacrifice their humanity in pursuit of thecrown Itrsquos still happening today What is theattraction of power Richard never pauses tothink of why he wants the crown or if hersquodbe any good as king Turns out hersquos not butitrsquos this bizarre obsession with control thatpropels him to kill everyone off thatrsquos in his way Itrsquos also fascinating that the one characterthat is consistently kind to Richard is hisfather York

ldquoI think an argument can be made thatRichard in his warped way is trying to liveup to the image he has of his father Ofcourse York is dead and gone by the timeRichard III begins but you can glean a lotabout Richardrsquos inner workings in the way hespeaks about his father Of course itrsquos foolishto try to answer questions that Shakespearedoesnrsquot and Irsquom not trying to say this solvesa mystery but I think itrsquos interesting Itrsquos only

an element itrsquos not the answerrdquo Richard III is listed as a historical

play in the First Folio but in the

quarto edition it is termed a tragedy

Which category would you put the

play in and why

ldquoI think of the history plays from Richard II to Richard III as one vast play an epic thatencompasses all the categories I think if youlook at Richardrsquos progression through those

plays you see a great mind warped by the War of the Roses and that certainly adds tothe tragic element I think of Richard III asthe final chapter of a great epicrdquo

Aidan OrsquoReilly stars in Marin ShakespeareCompanyrsquos Richard III from 4-27 September

Aidan OrsquoReilly

SHAKESPEARE magazine 37

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Scotland Shakes

SHAKESPEARE magazine 39

Bonnie Prince

Brian Fergusonas Hamlet in theCitizens Theatre

production Photoby Tim Morozzo

Billy William Shakespeare is undoubtedly Englandrsquos

Bard But how is he viewed north of the border

Our Caledonian correspondent surveys the state

of Shakespeare in Scotland and meets esteemed

outdoor theatre company Bard in the Botanics

Words Paul F Cockburn

T owards the end of May thisyear a BBC Scotland afternoon

news bulletin surprisinglyturned its attention to aforthcoming production of

ldquoone of William Shakespearersquos best lovedplaysrdquo ndash A Midsummer Nightrsquos DreamHowever this particular production wasnrsquotconsidered newsworthy because it came froman amateur group based in Dumfries andGalloway Not even that the CrossmichaelDrama Club were one of just seven amateurScottish groups taking part in the Royal

Shakespeare Companyrsquos Open Stages project which aims to help amateur companies

extend their repertoiresNo the lsquohookrsquo was how this newproduction was Shakespeare ldquobut no asyou micht ken itrdquo Because it had beenreimagined in Scots as A MidsimmerNichtrsquos Dreme

As it happens writer John Burns saysthat his principle reason for translating AMidsimmer Nichtrsquos Dreme was simply theintuition that it being in Scots would workto the benefit of the production ldquoItrsquos not

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Scotland Shakes

40 SHAKESPEARE magazine

so much that 16th century English canrsquot docertain things more that using Scots brings itcloser to a Scottish audience and to audiences who might think Shakespeare too fancyrdquo hesays ldquoI feel too that Scots can catch the sheerphysical power of Shakespearersquos language He writes lines you really feel physically when

you say them out loud My intention was touse Scots to produce a text that was actableand which would be accessible and enjoyablefor the audience and the Scots was a majorpart of thatrdquo

Arguably translating Shakespeare intoScots ndash viewed by many as a distinct languagefrom English ndash is just one way of finding thecontinued relevancies of Shakespearersquos writing with the here and now Certainly John Burns was keen to see if Scots ldquocould match the way

Shakespeare switches tonehellip from broad attimes bawdy humour to moments that aremore serious or even sinisterrdquo

Yet there is a wider perspective whether wersquore discussing translation into Scots orsaying Shakespearersquos words with a Scottishaccent Willy Maley and Andrew Murphyin their introduction to Shakespeare andScotland (published by Manchester UniversityPress in 2004) go as far as describing thetranslation of Shakespearersquos Macbeth into

Scots as ldquoa patriotic actrdquo not least becauseof ldquothe political commitment implicit intranslating from English to Scots reversing

the dominant dubbing practice infi

lmsrdquoGlasgow-based novelist and playwright Alan Bissett ndash who actively campaigned fora Yes vote during last yearrsquos IndependenceReferendum ndash has since written about howsince the 1970s Scottish theatre had ldquoadeep engagement with the shifting beastof Scottish politicsrdquo Although Bissett wasfocusing primarily on original works byScottish playwrights and directors itrsquos worthpointing out that Shakespeare ndash despite therebeing absolutely no evidence to prove he evertravelled north of Carlisle ndash has played hisown part in this

As Maley and Murphy point outldquoScotlandhellip never had precisely the samerelationship with the Bard as England hasbut has experienced a fraught process ofappropriation incorporation and resistancerdquoIn part this is because Shakespeare ndash in hislatter career ndash was among the first lsquoBritishrsquo writers Many of his later plays ndash Cymbeline King Lear even Hamlet ndash were produced

A tartan-cladAntipholus andDromio in Bard inthe Botanicsrsquo TheComedy of Errors

Brian FergusonrsquosHamlet CitizensTheatre productionPhoto by TimMorozzo

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under the patronage of Scotlandrsquos King JamesVI (aka James I of England) Each in theirown way can be said to touch on ldquothe matterof Britainrdquo the complex relationship between

the constituent elements of Jamesrsquos newlsquounitedrsquo kingdom which the Stuart monarch was determined to see joined into oneat never quite happened of course

Even after the 1707 Act of UnionScotland retained its own legal educationaland religious systems along with anaccompanying sense of Scottish identity ndash which survived even the height of the Britishempire Yet from the 1970s on there havebeen notable changes in how Shakespeareis treated by Scotlandrsquos producing theatrecompanies Several years ago GlasgowrsquosCitizenseatre delivered a powerful Romeoand Juliet in part because of their decision toset the action in a present-day sectarian Westof Scotland ndash with accents to match

ldquoEnglish-accented Shakespeare carriesa specific resonance in Scotland one thatdirectors usually choose to avoidrdquo pointsout Mark Fisher a freelance journalist criticand author of the forthcoming book How toWrite Abouteatre

ldquoIrsquom not sure exactly when attitudesstarted to change but Irsquod say the argumentin favour of Scottish-accented productionshad been pretty much won by the 1990sBy that time companies such as Raindogand directors such as Hamish Glen hadbeen making a point of casting very Scottishproductions of Shakespearerdquo

One example of how things hadprogressed even by 1992 was the late KennyIrelandrsquos production of A Midsummer

Nightrsquos Dream his first as Artistic Directorat Edinburghrsquos Royal Lyceum ldquoHe castthe mechanicals with Scottish accents andeveryone else with English accentsrdquo MarkFisher explains ldquois I said in my review wasa fundamental error ndash or some such phrasee message it sent out was that people withScottish accents were foolish figures of fun whereas people with English accents wereserious figures of respect

ldquoIreland reacted furiously to my review

and made the case that he had based thecasting of the mechanicals around (the actor) Andy Gray who has a Scottish accent Inother words the meaning I inferred hadnot been deliberate I think itrsquos true to sayhowever that Ireland never cast a Shakespearelike that againrdquo

Gordon Barr is Artistic Director of

Glasgow-based Bard in the BotanicsScotlandrsquos only professional Shakespearecompany (see following pages)

ldquoWersquove never gone out of our way tomake Scottish versions of these texts norhave we gone out of our way to have classicaltraditional voicesrdquo he says ldquoMost of our coreactors have made their careers up here so wethink of them as Scottish actors

ldquoat is important to us to not overlylook outwards for the acting company As

much as possible we work with people who are based in Scotland Wersquore regularlyproducing Shakespeare here and we want tobe a part of the training to ensure that there isa range of strong classical actors hererdquo

Citizens Theatrewwwcitzcouk

Owen Whitehawas the Fool andDavid Hayman asLear in CitizensTheatrersquos King Lear Photo by TimMorozzo

Scotland Shakes

SHAKESPEARE magazine 41

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Bard in theBotanicsrsquo As You Like

It takes Rosalind andOrlando into theopen air

ldquoTouring is something that we have wanted to do foryears but was somethingthat we could not afford

to do without fundingrdquo says Gordon Barr Artistic Director of Scotlandrsquos only professionaloutdoor Shakespeare festival Bard in theBotanics If therersquos any irony attached tothe companyrsquos first major tour of Scotland which took place in early 2015 itrsquos that theperformances of their acclaimed Romeo and Juliet ndash featuring a cast of five ndash were playedexclusively indoors

ldquoNobody is touring classical theatre in

Scotland at the minute so itrsquos importantto usrdquo Barr adds ldquoOur work is so muchabout accessibility One of the joys of beingoutdoors is that people come to see the work who wouldnrsquot buy a ticket for a theatre Ifyou can bring a picnic sit out on the grass while watching the show it feels easier moreaccessible But people canrsquot come from Thursoto Glasgow for a night just to see a productionof Shakespeare They should be able to see itin Thurso So that is kind of where the urge totour came fromrdquo

Bard in the Botanics has presented outdoorShakespeare within the grounds of GlasgowrsquosBotanic Gardens since 2003 This yearrsquoslsquoUnlikely Wondersrsquo season presented newproductions of Loversquos Labourrsquos Lost The Merchant of Venice Richard II and A Midsummer Nightrsquos Dream in lsquoreprsquo between24 June and 1 August

The companyrsquos founder Scott PalmerBarr explains had done a lot of his training atthe Oregon Shakespeare Festival one of the

biggest in North America ldquoWith the kindof drive and enthusiasm that only Americanshave he managed to convince the entire cityof Glasgow that outdoor Shakespeare would work and that the weather wasnrsquot going to be

a problemrdquoTwo years later Palmer moved on and Barr

ndash originally involved as a director ndash succeededhim as Artistic Director ldquoIf anyone then hadsaid that I would end up spending 12 yearsrunning an outdoor Shakespeare festival I wouldnrsquot have believed themrdquo he says in hisoffice hidden behind some of the Botanicsrsquogardening sheds ldquoI very quickly fell in love with it once I started working here Despiteall the trials and tribulations that outdoortheatre in Scotland brings with it therersquos just

something magical and special about it Itrsquos a very close-knit company and thatrsquos sort of keptus all here as long as we have beenrdquo

While the annual summer season ofShakespeare plays in the Botanics will remainat the centre of what the company does ndashldquoOtherwise Bard in the Botanics becomesa rather strange namerdquo ndash Barr is very much

Outof theGarden

This year has seen Glasgowrsquos Bard in the Botanicsdo something completely unexpected They wentout on a tour of ndash whisper it ndash indoor venueshellip

Scotland Shakes

42 SHAKESPEARE magazine

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Scotland Shakes

SHAKESPEARE magazine 43

focused on building on the touring side ldquoBecause it was our first ever tour we

did end up taking Romeo and Juliet to theestablished Scottish touring circuitrdquo he addsldquoIt takes a while to build up relationships with the smaller venues thatrsquos going to bean ongoing process for us Even so we weretaking Romeo and Juliet to places like Mulland Stranraer ndash communities and venues thathavenrsquot had a lot of classical theatre comingthrough themrdquo

The choice of play was deliberate too ldquoIt was a production that was ready to go whichhad received five star reviews and sold out itsextended run in the Botanics in 2012 So weknew that the work was good but therersquos nodoubt that for a first tour we wanted to makeit easier for the venues to sell it Most venuesknow they can find an audience for Romeo and Juliet rdquo

In time he hopes that audiences aroundthe rest of Scotland will come to trust the Bardin the Botanics name sufficiently to take on theless familiar plays

ldquoYou just donrsquot know how quickly acommunity is going to turn out for Henry IV yetrdquo he says ldquoHopefully three or four toursdown the line theyrsquore going to turn out forBard in the Botanics ndash and if it happens to be

Henry IV well thatrsquos greatrdquoGiven their reimagining of A MidsummerNightrsquos Dream as a 1920s burlesque musicalis there a particular Bard in the Botanicsapproach to Shakespeare

ldquoOur kind of unofficial motto is lsquoBe BoldBe Braversquordquo Barr says ldquoIf wersquore continuingto stage these plays around 400 years afterShakespearersquos death I think therersquos an urgencyto ask lsquoWhyrsquo It is important to questionlsquoWhat is the story that we want to tellrsquo I wantto see how these plays intersect with historyand todayrsquos society not to present museumpieces

ldquoItrsquos always with an eye to try to releasesomething thatrsquos within the textrdquo Barrinsists ldquoWersquore not remotely interested ininnovation for innovationrsquos sake The playsare masterpieces thatrsquos essentially why wersquorestill doing them 400 years later But to revealsomething thatrsquos unexpected or new thatrsquosimportant to usrdquo

Bard in the Botanics

wwwbardinthebotanicscouk

Rosalind and Audreyin the forest Bardin the Botanicsrsquo As You Like It

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Shakespeare at the Tobacco Factory stf 2016 Seasonco-production with Tobacco Factory Theatres

HAMLETBy William Shakespeare

Directed by Andrew Hilton

Main run Thu 11 February ndash Sat 26 March 2016

In repertoire with Allrsquos Well That Ends WellMon 25 ndash Wed 27 April Sat 30 April 2016

The most famous play in world drama Hamlet

turns a new face to every decade So many

elements - political madness sex murder ndash all

brought together in a drama that is both a thriller

and the profoundest meditation on our human

condition

ldquoThrilling workrdquo The Guardian on Romeo amp Juliet

ldquoBullseyerdquo WhatsOnStage on Romeo amp Juliet

Shakespeare at the Tobacco Factory Friends Priority Booking opens Wed 23 September 10am

wwwstf-theatreorguk

Tobacco Factory Theatres Members Priority Booking opens Wed 16 September 10am

wwwtobaccofactorytheatrescom

Public Booking opens Wed 30 September 10am

Tobacco Factory Box Office 0117 902 0344

ALLrsquoS WELL THAT ENDS WELLBy William Shakespeare

Directed by Andrew Hilton

Main run Thu 31 March ndash Sat 23 April 2016

In repertoire with Hamlet

Thu 28 ndash Fri 29 April Sat 30 April

A young woman using skills bequeathed herby her father saves the French Kingrsquos life and

is rewarded with the right to choose her own

husband But what if the chosen one wonrsquot play

the game How can she get him into bed How

can she make him love her

ldquo There is something approaching real

magic hererdquo The Arts Desk on The School for Scandal

P h o t o s M

a r k D o u e t

Dorothea MyerBennett in Richard III

Benjamin Whitrowand Julia Hills in The

School For Scandal

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Having conquered

Hollywood and vanquished

the global entertainment

industry video games now

on our culture So where

does the Bard stand in all of

this We sent a Shakespeare

scholar to investigatehellip

Words Andrew Bretz

Shakespeare video games

46 SHAKESPEARE magazine

T eGamersquos A oot Silent Hill is one

big-name gamewhich includesShakespearereferences

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Shakespeare video games

SHAKESPEARE magazine 47

German cardboard Macbeth datingfrom the early1800s

Hamlet reimaginedRyan Northrsquos To Be

Or Not To Be

W

hen you walk intothe wood panelled Victorian Gothicismof the Gail Kern Paster

Reading Room at theFolger Shakespeare Library in WashingtonDC video games are probably the lastthing on your mind Buried deep withinthe archives however are a set of fragilecardboard figures printed in Germany in theearly 1800s representing each of the maincharacters of Macbeth

Nineteenth century German children would play with these figures on smallcardboard stages no bigger than a dollhouseey could replicate the story as it was toldin Shakespeare or use their imagination tochange the ending letting Lady Macbethsurvive and bringing Duncan back from thedead if they so chosee limits of the game were the limits of their imagination

Today the lsquogamificationrsquo of Shakespeareis a big business from Ryan Northrsquos choose-your-own-adventure edition of Hamlet To Be Or Not To Be to IDW Gamesrsquosupcoming Kill Shakespeare board gamebased on the comic of the same name

Gamifying Shakespeare is filtering intoschools libraries and the theatrical worldas well with the University of California atDavis the Stratford Festival in Ontario theGlobeeatre in London and the LondonMetropolitan Archives all experimenting with video game elements in exhibits productionsand research

Why video games In a sense this is thelogical next step in the media development ofShakespeare Hersquos everywhere in other media

books movies merchandise But videogamese answer for that depends on whoyou ask

StorytellingOccasionally individuals or publishinghouses develop video games that try to tellthe story of say Hamlet yet this is relativelyrare One example would be Elsinore a time-looping narrative adventure game set in the world of the play Players play the game as

Ophelia who wakes up knowing that in fourdays the entire court will be dead and shemust do something to stop ite problemis that she is stuck in a time loop reliving thesame four days over and over againat said Shakespearersquos presence in the

video game industry tends to be focused oncitation rather than adaptation of the playsat is video games for Xbox Playstationand other popular gaming systems often

just cite Shakespearersquos plays as a part of acommon cultural heritageese games donrsquotrestage say Hamlet but they quote the playIn these cases Shakespeare is used to establisha point of identification for the audience His writing tells the audience something aboutthe character or the situation

Given that audiences are supposedto be able to identify the quotations asShakespearean it is unsurprising that Hamlet is the most popular text for game designers to

cite Ine Elder Scrolls Online for instancea merchant NPC (non-player character)quotes Polonius when players interact sayingldquoNeither a borrower nor a lender berdquoe words establish the NPCrsquos role as a merchant while fitting the medieval world of thegame In the game LA Noire upon pickingup a fake shrunken head at a crime scene adetective leaps into high melodrama withldquoAlas poor Yorick I knew him Horatiordquoequotation and the clever voice acting establish

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Shakespeare video games

48 SHAKESPEARE magazine

the characterrsquos strait-laced yet macabre senseof humour

Sometimes citing Shakespeare is a partof a critique of a larger theme In the game Mass E ff ect the Elcor are a race of elephantinealiens who preface all statements with adescription of the emotion they are feelingand who speak in a slow monotonous drone As players interact with the expansive worldthey can discover a number of advertisementsfor an all-Elcor Hamlet e idea of theElcor actor ndash the ultimate in a flat woodenperformer ndash having to preface ldquoTo be or not

to berdquo with ldquomorose ruminationrdquo goes beyondthe simple humour of a bad Shakespeareperformance It subtly asks what it is aboutacting (and especially voice acting) that isvaluable

Shakespeare can appear in video gamesnot merely as a marker or contextualisationtool but as a part of a puzzle For example inthe game Silent Hill 3 players must arrange aset of Shakespeare anthologies on a bookshelfin an abandoned shopping mall in order to

proceed in the game At the hardest levelthe puzzle clue takes the form of a poemthat references all the major tragedies Romeoand Juliet King Lear Macbeth Othello andof course Hamlet e bloody nature of thetragedies fits with the bloody nature of theSilent Hill series of games which fall into thesurvival horror genre

Popular video games have also servedas the inspiration for games that engage with Shakespeare in a more direct way For

example Daniel Fischlin at the Universityof Guelph in Ontario Canada led a teamthat created a Flash game called rsquoSpeare Itrsquos

a scrolling arcade-style game suggesting thersquo80s hit Galaga which sees players identifyingand navigating through a series of enemies who turn into words upon being destroyede player progresses through the levelsby collecting the correct words to createShakespearean quotes learning Shakespeareantrivia along the way

ImmersionOne of the most exciting aspects of videogames is the ability to immerse the player inthe world of the game in a way that othermedia simply cannot do Being able to walkaround Prosperorsquos cell Julietrsquos balcony orto stand before the ghost of Hamletrsquos fatheras he cries out ldquoList list O listrdquo ndash theseexperiences are made possible through videogame technology

Students of Scenic Arts at the Universityof Hildesheim in Germany created Projekt ARIEL or SturmMOD in 2008 using a lsquomodrsquo(or modification) to the engine that runs

the game Far Cry 1 e performance artproject allowed users to experience Prosperorsquosisland interacting with certain parts andexploring others Players could walk aroundan imaginative rendition of Prosperorsquos cell and witness or interact with elements of the playincluding diff erent characters like CalibanProspero and Miranda

Four days to savethe Danish court

Elsinore

Another Hamlet reference this timein LA Noire

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Shakespeare video games

SHAKESPEARE magazine 49

Gina Bloom at the University of Californiaat Davis is presently spearheading a projectthat will be demonstrated in the lobby of theStratford Festival theatre in Ontario Canadathis summere project Play the Knave AShakespeare Performance Videogame lets usersdesign a virtual performance space and thenperform a scene from a Shakespeare playinhabiting this constructed space with anavatar As a Davis insider explains ldquoWe use akinect motion capture camera to capture theuserrsquos skeletal data so that players use theirentire bodies to control their avatarrsquos gesturesonscreen all the while reciting the lines from

Shakespearersquos scenerdquo is literally immersesthe players in the scene

Shakespearersquos Globe eatre in Londontook another tactic regarding immersionin the production of the game HemmingsrsquoPlay Company Hosted on the Playgroundportion of the Globersquos website and thusaimed at an audience of children the gamehas players taking on the role of Hemmingsan Elizabethan bear who leads a troupe oftheatrical animals such as Kit the Cat Dekker

the Dog and Slye the Foxe turn-based game leads players through

the vagaries of Elizabethan theatre practicefrom patronage to lost props and the plagueBy the end of the game players must earnenough money to rebuild the Globe after itburns down during a performance of HenryVIII

Also from Shakespearersquos Globe are twoinnovative video experiences created forchildren aged five to 11 e first Exploring

Shakespeare features two boys on a tour ofthe Globe theatre who sneak off to explorebackstage e video illustrates four plays

using short animations that are keyedto things the boys find backstage etechnology combines live action film andanimation to create an interactive touchablegame Filled with mini-games quizzes andinteresting facts about Shakespeare the gameallows players to click through the narrativeor to stop and learn more as they go along

e second video called Staging It usesthe same technology as the first film but thistime is for the 11-16 age group In this gamee Globe has filmed two actors performingfamous duologues from A MidsummerNightrsquos Dream and Macbeth on the Globestage Rather than shoot it once the actorshave performed their lines in diff erent ways(happy flirtatious defensive and so on)creating several diff erent clips per linePlayers can watch each of the clips and addtheir choice to a dynamic storyboard tobuild up their final scene Impressively theplatform allows for up to 1000000 diff erentcombinations of clips

Apps and Mini-GamesItrsquos when you start to look outside of therealm of popular video game platformslike Xbox or Playstation that Shakespeare

Silent Hill 3 Brush upyour Shakespeare ifyou want to survive

Hemmingsrsquo PlayCompany fromShakespearersquosGlobe

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Shakespeare video games

50 SHAKESPEARE magazine

really starts to pop up wherever you looke ubiquity of Shakespeare is especiallynoticeable when you start to look at apps andmini-games designed for phones and tablets

In 2012 Big Fish Games released aniPhone and iPad game called Hamlet that featured all the main characters ofShakespearersquos play but transposed them intoa save-the-princess narrative puzzle game A time traveller lands in Denmark andaccidentally kills Hamlet and so players mustcomplete his journey for him saving Opheliaand killing Claudiuse Shakespeareancontent is minimal and heavily adapted andyet it fits with the puzzle format in whichShakespeare tends to be found in videogamese Chronicles of Shakespeare Romeo amp

Juliet ande Chronicles of Shakespeare A Midsummer Nightrsquos Dream are lusciously-illustrated puzzle games for the PC In themplayers act as one of the characters from theplays gathering items and clues through aShakespearean environment

Among the literally thousands of appsrelated to Shakespeare that can be found forthe iPad or Android tablet are

e Shakespearean Insult Creator which generates invectives drawn from a wholly Shakespearean vocabulary So nexttime you want to call someone a jerk trysomething more like ldquoou fusty follyfallenfustilarianrdquo

e Shakespeare Translator whichtranslates ldquonormal English words and phrasesinto the words of Shakespeare himselfrdquo

e Shakespeare Fortune Cookie which provides short quotes from the plays

and a small trivia game Shakespeare or Die a game that

scrambles the words of famous quotationsfrom the plays and asks you to identify theplay and character who spoke the line If youmake a mistake however beware the witchesese apps are either explicitly games or

they are coming out of a game-like impulse tomake Shakespeare more accessible to everyone with an internet connection

Brave New WorldsIn a world where Shakespeare is an industrycounted in the millions of dollars per yearit is so easy to forget that Shakespearersquos playsare just that ndash playsere is a sense of joyand fun and happiness embedded in theexperience of watching them Games are oneof the ways that people over the centuries

have tried to recapture that elusive sense ofplayfulness within Shakespeare So it makesperfect sense that now with the advent ofdigital technologies Shakespeare is movinginto the digital world with a vengeance

From big studio games likee ElderScrolls to small apps that can be downloadedfor free from talking bears to immersiveperformance experiences Shakespeare iseverywhere in video games Rather than beingan undiscovered country into which the Bard

is only just beginning to emerge games havein fact engaged with Shakespeare and his works for hundreds of years And they willprobably continue to do so for hundreds ofyears to come

rsquoSpeare is a scrollingarcade-stylegame with addedShakespeare trivia

Hamlet is aShakespeare-themed puzzle fromBig Fish Games

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Meet thy makers

Helen Mears fell into bardolatryduring her teenage years and has

never recovered She is a volunteersteward at Shakespearersquos Globe

which ensures a regular diet of theBard She teaches English Film andMedia at Suffolk New College and isa specialist in teaching Shakespeareusing active methods Her favouriteShakespearean actor is Jamie Parker

and her favourite plays are the SecondHistory Tetralogy She hopes to

finish her Masters in the AdvancedTeaching of Shakespeare very soonFind her on Twitter hipster_hels

Paul F Cockburn is an Edinburgh-based freelance magazine journalist who specialises in writing about

arts and culture equality issues andpopular science Hersquos sufficiently

grey-haired for his English Literaturetraining to have sort of overlapped

with The BBC Television Shakespeareproject saving at least some of the

plays from death by academiaFind him on Twitter paulfcockburn

Jen Richardson first fell in love withShakespeare as a 15-year-old schoolgirl

ldquoHe got under my skin and hersquos still theretodayrdquo After training with a Manchester-based drama tutor she went on to pursuean acting career Drama remains a greatinterest but her focus is now on sharing

her passion for Shakespeare throughher writing In her spare time Jen is

generally down in Stratford-upon-Avonsitting on her favourite bench behind

Holy Trinity ChurchFind her on Twitter The_JenJen

Andrew Bretz is a sessional instructorof English Literature and Drama

specialising in early modern dramaHe has taught at Wilfrid LaurierUniversity the University of Guelph

Brock University and McMasterUniversity For the past two years he

has taught a special summer intensiveat Ontariorsquos Stratford Festival His PhDdissertation was on the representationof sexual violence on the early modern

stage Find him on TwitterAndrewBretz001

Just some of the contributors to this issue of Shakespeare Magazine

Rosalind Lyons is a painter whohas exhibited widely in both mixedand solo shows with work in UK

and international private collections A life-long love of Shakespeare isreflected in many of her paintings

and a particular recent focus isShakespearersquos Globe theatre where shespent a period as artist-in-residenceShe is currently studying for a PhD

in Painting and ShakespeareanTheatre at Anglia Ruskin University

in CambridgeFind her on Twitter roslyons

52 SHAKESPEARE magazine

Contributors

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Page 16: Shakespeare Magazine 08

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Benedict Cumberbatch

16 SHAKESPEARE magazine

ldquoAnd yet to me whatis this quintessence

of dustrdquo [II 2]

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Even more than London there

is one place above all that is

green and pleasant landhellip

Words Helen Mears

Pictures Helen Mears and Susan Braund

Stratford-upon-Avon

SHAKESPEARE magazine 19

W e could be in any smallpicturesque Englishtown with its medievalchurch half-timberedTudor buildings shops

restaurants and delightful riverside walksBut Stratford-upon-Avon is not just any

town Itrsquos one of the best-known most- visited and probably most-loved locations inEngland Thatrsquos because itrsquos the birthplace of William Shakespeare Itrsquos also the place heseems to have considered his home After allShakespeare grew up there went to schoolthere and spent his final days there

So here is Shakespeare Magazinersquos on-the-ground guide to Stratford-upon-Avon Hereyoursquoll find hints and tips for first-time visitorsand returning aficionados alike What to see

the best ways to see it where to stay where toeat and how to get around while yoursquore there Are you ready Then letrsquos start our tourhellip

The BirthplaceSurely the must-visit spot for any self-respecting Bardolator this is where it all beganndash the six-roomed Merchantrsquos House on HenleyStreet where in April 1564 Mary Shakespeare wife of glover John gave birth to their famousson Williame house is approached

HOME

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20 SHAKESPEARE magazine

through the Shakespeare Centre on the left-hand side of the Birthplace A short exhibitionshows you items such as a prized First Folioand the foot of Stratfordrsquos Old Market Cross

from where glover John Shakespeare wouldhave sold his wares A walk through the gardens leads to

the house itself You enter through theself-contained annexe where William and Anne Shakespeare spent the first years oftheir married life and where their childrenSusannah Judith and Hamnet were born eannexe was later occupied by Williamrsquos sister Joan You can walk through the parlour andthe dining room to Johnrsquos workshop where heproduced gloves and other leather goods

A staircase leads to two bedrooms onefor the girls one for the boys and a loft spaceis visible where the apprentices would haveslept Finally you reach the birth room themain bedroom in which William and his sevensiblings were born

Guides are on-hand in all rooms to tell youtheir history and other gems of informationComplete your visit by watching classicShakespearean speeches performed in thegarden by resident acting troupe Shakespeare

Aloud and then picking up some souvenirs inthe gift shop and excellent bookshop

e five house ticket is the best value givingyou entry to all of the properties (HarvardHouse is a current alternative to New Place)and allowing you to view Shakespearersquos Gravein Holy Trinity Church

The Avon and Boat trips A walk along the Avon is a must in any seasone gentle stroll from the RSC to Holy Trinity

Church will take you past drooping willowssmoothly sailing swans and green parklandFor a diff erent perspective on the town you cantake a boat trip along the river itself Startingfrom near the RSCeatre you cruise gentlydown to the church where Shakespeare wasbaptised and buried before turning back andheading past the theatre and under CloptonBridge Itrsquos a bridge that William himself would have known built as it was around1480 e Avon is very pretty everywhere

you look are the incredible tame (and alwayshungry) swans and picturesque houseboatse banks are lined with weeping willows that just might have been the inspiration for poorOpheliarsquos watery end in Hamlet If you wouldrather take a slower self-driven trip there arerowing boats canoes and small speedboatsfor hire Beware though these are not aseasy to control as they look and you may wellspend a good proportion of your allottedtime relearning how to row and avoiding

Stratford-upon-Avon

The birth roomat ShakespearersquosBirthplace

Molly fromShakespeare Aloudin the Birthplacegarden

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SHAKESPEARE magazine 21

other hapless river tra ffic Boat trips typicallylast for around 40 minutes and are especiallypleasant in the late afternoon when the sun setsslowly behind the church steeple For addedluxury you can take a restaurant cruise where

afternoon tea or an evening meal are served onboard or as a quicker cheaper alternative youcould take the chain ferry across the Avoneferry dates from 1937 and is the last of its kindin the UK

Nash House and New Place

As well as the Henley Street property theShakespeare Birthplace Trust care for fourother locations in and around Stratford allassociated with Williamrsquos family Nash House

and New Place were adjoining propertieseformer was the home of Judith Shakespeareand her husband while the latter was thefamily home that William purchased in 1597at the time the second most expensive housein the town Sadly it was demolished by asubsequent owner but the Trust are currentlyundertaking a massive renovation of the siteis means that the properties will not be opento the public until 2016 to coincide with the400th anniversary of Shakespearersquos death

Hallrsquos Croft

A brief walk from New Place will take youto Hallrsquos Croft the home of SusannahShakespeare and her husband the physician John Hallis is an interesting property in its

own right and is partly set up to show how apractising physician would have worked at thetime A special mention too must goe Arterthe award winning independent craft shopadjoining the building and to the beautifulgarden in which open air performances ofShakespearersquos plays are sometimes performed

Stratford-upon-Avon

Holy TrinityChurch viewedfrom the Avon

Nash House andNew Place

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22 SHAKESPEARE magazine

Anne Hathawayrsquos Cottage A short distance from Stratford is Shottery where you can find the beautiful cottage

which was the home of the Hathaway familySet in yet another lovely garden this is thehouse in which Anne Hathaway grew upand was courted by the young William JohnShakespeare served with Anne Hathawayrsquosfather on the town council so their childrenprobably knew each other from a young agee family remained associated with thecottage for several centuries and have spunmany a yarn about the young lovers theveracity of which are highly questionable

However the stone floor of the kitchen isoriginal and we know that William must have walked those stones many many times

Mary Ardenrsquos Farme last of the Shakespeare properties is Mary Ardenrsquos Farm Shakespearersquos mother lived hereand itrsquos where she probably took the infant William when plague broke out in Stratfordshortly after his birth Open from March toNovember only the farm is run as a working

Tudor farm with costumed guides caring forthe buildings and the animals Itrsquos a great placefor a family day out with plenty to see and doand numerous activities runningere are

daily falconry shows archery animals to feedand games to play You can even treat yourselfto a genuine Tudor meal in the cafe ndash pottageand home-baked breads are a speciality

What if you donrsquot have a care town itself is fairly small and all themain attractions are within walking distanceHowever the easiest way to get around and toenable a visit to Anne Hathawayrsquos Cottage andMary Ardenrsquos farm is to the Hop On-Hop Off City Sightseeing busis will take you to allthe main town locations and also to Shotteryand Wilmcote A day ticket will give youunlimited access to the buses and allow you tovisit all of the Shakespeare properties e buscan be picked up by the statue of Touchstonethe jester at the top end of Henley Street

Walking Tours Another excellent way to see the main sites ofStratford and to learn some of the historicaltales of the town is to take a walking tour

Stratford-upon-Avon

Anne HathawayrsquosCottage

Mary Ardenrsquos Farm

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ere are several options depending on thetype of tour yoursquod likee town guides runhistorical tours of the town every day (yesevery day) of the year For those who like to be

a bit more daring there are evening ghost walksled by costumed guides who will tell you someof the spooky tales of Stratford Both of thesetours start from the Swan Water Fountain onthe riverside

Or if you like the idea of being guidedby Shakespeare himself on a Saturday (andMonday to Saturday through the summerholidays) there are town walks led by the manhimself (or someone who looks an awful lotlike him)ese run from Tudor World onSheep Street an interesting museum in thehouse that belonged to the man who wasallegedly the model for Sir John Falsta ff

Holy Trinity Church Another must-see is the townrsquos 13th centurychurch with its distinctive spire that dominatesthe view from the river Remember that if youhave a ticket to the Birthplace properties yourvisit to the grave is free e church is famousfor being where William Shakespeare wasbaptised on 26 April 1564 e old font that

was used for the baptism is displayed in thechancel along with copies of both the registerof baptism for April 1564 and the register ofburials for April 1616 where Shakespearersquosname can be clearly seen Also in the chancelin front of the altar are the Shakespeare familygraves Williamrsquos bears its infamous curse

ldquoGOOD FRIEND FOR JESUSSAKE FOREBEAR

TO DIGG THE DVST

ENCLOSED HEREBLESTE BE YE MAN YT SPARESTHESE STONES

AND CURSED BE HE YT MOVESMY BONESrdquo

On the wall above the grave is the effigy of

Shakespeare Itrsquos one of the few images which was produced within the lifetime of AnneShakespeare and probably one of the mostauthentic likenesses of her husband

The Guildhall and King EdwardrsquosSchoolDirectly opposite the site of New Place standthe Guildhall and the townrsquos old grammarschool Both of these places have links to theShakespeare family King Edwardrsquos Schoolis where the young William is believed tohave studied and itrsquos probably where hefirst encountered the classical texts which soinspired him As the son of a town councillorhe would have been entitled to a placee

old school is sometimes open to visitors at weekends or during the holidays but theschool has just won a lottery grant whichshould enable them to open it as a permanentattraction e Guildhall was sometimes hostto groups of travelling players and so it couldbe the site where young William first sawtheatrical performances It is widely believedthat John Shakespeare owing to his role astown bailiff was responsible for supervising the whitewashing of the medieval Doom Painting

Stratford-upon-Avon

SHAKESPEARE magazine 23

The GuildhallDoom Painting

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24 SHAKESPEARE magazine

Stratford-upon-Avon

is has been recovered and is now once againvisible above the chancel arch

The Royal Shakespeare CompanyTheatre and the riversidee riverside park is home to several interestingsights It is from here that you can get a view ofthe Clopton Bridge pick up a river cruise feedthe swans and admire the Gower Memoriale memorial was presented to the town in1888 and features a statue of Shakespeareseated upon a plinth overlooking statues offour of his best known charactersese areHamlet Prince Hal Sir John Falsta ff and Lady

Macbeth who represent Comedy HistoryPhilosophy and Tragedy Closer to the theatreis the beautiful Swan Water Fountain unveiledin 1996 If you see the water frothing fear notit seems to be a sport amongst local youngstersto fill the fountain with washing up liquid on aregular basis

e Royal Shakespeare Companyeatre was built in 1932 but has recently undergonea complete refurbishment in both the mainand the Swan theatres e building reopened

in 2010 with both theatres having beenconverted to boast thrust stages and curvedgalleries similar in shape to the originalElizabethan playhousese world renowned

Royal Shakespeare Company performshere throughout the year staging plays byShakespeare and his contemporaries as well asby newer authors ey also run an educationprogramme exhibitions family activitiesduring the school holidays and theatre toursTo see Stratford from an entirely diff erentangle take the lift up the 36 metre high towerfor spectacular views across the town

Where to eat and drinkStratford has an excellent range of eateriesto suit all tastes and budgets ere is pubgrub afternoon teas world cuisine finedining pizza pasta and fish and chips Manyrestaurants off er pre-theatre menus and ifyoursquove been on a town walk you may find thatyou can get discount vouchers for your foodere are many pubs in Stratford including theGarrick Inn the oldest pub in the town whereyou can taste the Shakesbeer specially brewedto celebrate Shakespearersquos 450th Birthday in2014 If you want to spot RSC cast members

relaxing after their showse Dirty Duck on Waterside is the place to drink

Where to stay Again Stratford-upon-Avon has a good varietyof hotels bed and breakfasts and holidayhomes All the main chains have hotels inthe town from budget brands to the luxurynamesere is an excellent choice of bedand breakfast establishments in and aroundthe town again these will suit all tastes and

budgets Airbnb also has an interesting rangeof rooms flats and houses to rent in StratfordHowever be sure to book early especially forthe prime summer months

The Shakespeare Birthplace Trustwwwshakespeareorguk

The GowerMemorial Will andPrince Hal

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M

any places around the worldhave been named afterStratford-upon-Avon thebirthplace and home of William

Shakespeare And many of those Stratfordsare home to theatre festivals of varying sizesStratford in the state of Victoria in Australiahas an annual Shakespeare festival still goingevery year while Stratford in Connecticut inthe USA had a major theatre from the mid1950s to the mid 1980s Stratford Ontarioin Canada however stands out among thesetowns and festivals not merely in scope but ininternational reputation and prestige

In 1950 Canada had no home-growntradition of classical theatre Certainly

Shakespeare was performed but there hadbeen a strong anti-theatrical movement inCanada throughout the 19th century whoseeffects still lingered throughout the first half ofthe 20th As a cultural icon Shakespeare wasedifying to be sure but certainly not to beperformed The Stratford Festival changed allof that for Canada

In the late 1940s the local newspapers andgovernment of the town conceived of the ideaof revitalising Stratfordrsquos sagging economy by

capitalising on the name of the town and its

long association with the Bard They bandedtogether and under the leadership of TomPatterson they brought over Tyrone Guthrieand Alec Guinness for the first season in1953 Guthrie had famously directed Gielgud

inHamlet

at Elsinore Castle in Denmarkand had been the manager of the Old Vic inLondon He wanted to create an acting spacethat echoed the original Globe theatre whereactors were surrounded by the audience incontrast to the proscenium arch theatres thatdominated the London and New York scenes

From the first performance which tookplace inside a giant circus-style tent on thebanks of the Avon River the festival workedto create a new aesthetic of Shakespeareanperformance The thrust stage of the FestivalTheatre designed by Tanya Moiseiwitschhas been recognised as one of the greatinnovations in stage design of the 20th centuryGenerations of actors have had to learn howto address an audience on three sides of themsometimes only an armrsquos length away

The festival has been central to the careersof Canadian actors such as ChristopherPlummer Martha Henry and even WilliamShatner Actors from the US and UK havesought to play the festival as well including

Peter Ustinov Christopher Walken and JessicaTandy Indeed these international stars notonly lend credibility but have indelibly markedthe festival For instance Maggie Smithrsquosperformance as Rosalind in As You Like It inthe 1977 and 1978 seasons is legendary in thecompany and the town

Today the festival has expanded to includemultiple performance spaces a theatre schooluniversity accredited courses and the largesttheatrical costume shop in North America

It has started countless careers inspiredcompanies such as Torontorsquos SoulpepperTheatre and helped shape the Canadiantheatre landscape for over 50 years

Stratford Festival ndash Ontario Canada

wwwstratfordfestivalca

MEANWHILE

IN CANADATherersquos more than just one Stratford you knowAnd the one in Ontario Canada has a world-renownedShakespeare Festival gives us a tour

Stratford Ontario

SHAKESPEARE magazine 25

ldquoFrom the fi rst performancethe Festival worked tocreate a new aesthetic ofShakespearean performancerdquo

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Planning to performa short selection

from Shakespeare

The 30-Minute Shakespeare

Anthology contains 18 abridged

scenes including monologues from

18 of Shakespearersquos best-known plays

Every scene features interpretive stage

directions and detailed performance

and monologue notes all ldquoroad testedrdquo

at the Folger Shakespeare Libraryrsquos

annual Student Shakespeare Festival

THE 30-MINUTE SHAKESPEARE is an acclaimed series of abridgments that tell the story of each play while keeping the beauty ofShakespearersquos language intacte scenes and monologues in this anthology have been selected with both teachers and students inmind providing a complete toolkit for an unforgettable performance audition or competition

NICK NEWLIN has performed a comedy and variety act for international audiences for more than 30 years Since 1996 he hasconducted an annual teaching artist residency with the Folger Shakespeare Library in Washington DC

The 30-Minute Shakespeare series is available in print and ebook format at retailersand as downloadable PDFs from 30MinuteShakespearecom

The 30-Minute Shakespeare Anthology

includes one scene with monologue

from each of these plays

ldquoLays the groundwork for a truly fun and sometimes magical

experience guided by a sagacious knowledgeable and intuitive

educator Newlin is a staunch advocate for students learning

Shakespeare through performancerdquo mdashLibrary Journal

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Roaslind Lyons

28 SHAKESPEARE magazine

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For UK artist Rosalind Lyons the Bard is a

constant presence in her creative life She tells

us how Shakespeare inspired the haunting and

dreamlike works that adorn these pages

Words and paintings by Rosalind Lyons

Rosalind Lyons

SHAKESPEARE magazine 29

Left TheRoaring Boys

PAINTINGSHAKESPEARE

S hakespeare has long been at the heart ofmy work sometimes directly and obviouslyin the subjects and often in the titlesBut always Shakespearersquos words charactersand stories are there in my head when Iam painting ndash a perpetual conscious andunconscious presence

My style echoes that of the Renaissancepainters and Elizabethan portraits andthese influences combined with a life-long love of Shakespeare made my firstvisit to Shakespearersquos Globe pivotal Iexperienced a powerful sense of connectionand recognition Here suddenly ideasand themes with which I had been so longpreoccupied were brought to life

I subsequently gained access to theGlobe to draw and later spent some time

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as Artist in Residence thereat experienceprompted more in-depth exploration notonly of Shakespeare and painting but of therelationship between painting and theatreere are of course the strong visualconnections ndash both are spaces for spectacleand illusion But also compelling ideas oftransformation imagination storytelling andidentity And overall the theme of ambiguitye blurring of boundaries between realityand fiction male and female light andshadow past and present I am fascinated byhow we respond to history how we re-presentand re-imagine the past And the figures inmy paintings are imagined as belonging toboth now and then ndash flitting back and forthacross the threshold between past and presentbetween Shakespearersquos time and our own

modern worldI have painted some specific characters

from Shakespeare but many subjects ofmy paintings are anonymouse figuresare unknown their place purpose role is amysteryis anonymity is unsettlingereare clues in the setting in the costumes ndash orperhaps I should just say in the clothes theyare wearing ndash but the context is not obviousI am fascinated by the dramatic convention ofcross-dressing ndash and particularly the inherent

confusion as with Rosalind ( As You Like It )and Viola (Twelfth Night ) in the idea of aboy playing a girl playing a boy Many of thecharacters I invent are androgynous theirgender and age uncertainis ambiguityof identity interests me in the context ofvisual illusion and theatrical transformationthe idea of inbetween-ness and somethingunresolved

Like theatre my paintings are concerned with inventing characters and the creation

Right No MoreYielding But A

Dream

Roaslind Lyons

30 SHAKESPEARE magazine

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of an imaginary world and I am particularlyattracted to the fools fairies and witchesIn A Midsummer Nightrsquos Dream the fairiesrsquoactions may seem malevolent or benign or just mischievous but there is definitely a dark

side an underlying sense of threate Fool too is intriguing Shakespearersquosfools frequently describe themselvesor are referred to as a nobody but areunquestionably much moree fool is anoutsider concerned with but at the same timeseparate from the story He ndash or sometimesshe ndash doesnrsquot quite belong anywhere butseems to exist on the boundary between thefamiliar and the uncanny

I am attracted to the strange to mysteryand shadows and try to express through myimages a strong feeling that it could be thator maybe something else As Orsino says atthe conclusion of Twelfth Night ldquoA naturalperspective that is and is notrdquo While makinga painting and even when it is finished Idonrsquot know really who my characters are ndashthey remain elusive But I like not knowingand ultimately meanings always change anddepend on individual perceptions

My experience at the Globe led to aparticular fascination with the ambiguous and

protean quality of the theatrical performerhow their identity transforms and fluctuatesI was attracted by this when watching

Rosalind Lyons

SHAKESPEARE magazine 31

Above A MidwinterNightrsquos Dream

Right Three Fools

Far right FollowingDarkness

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rehearsals observing actors shift between selfand impersonation between diff erent realitiesand identities When they are not acting theyndash metaphorically and often literally ndash melt

into the shadows I am interested too in thephysical and symbolic threshold between lsquoonrsquoand lsquooff rsquo-stage the transformation inherentin an actor moving from the wings onto thestage assuming another self and anotheridentity Particularly evocative is the fact thatactors were colloquially known as shadowsin the Elizabethan playhouses ndash suggestingsomething unknowable and insubstantialIn the Prologue to Henry V Shakespeare hasthe Chorus describe the players as lsquociphersrsquoimplying deception and secrecy

Artists in the past who have tackledShakespeare have generally produced imagesthat directly illustrate the text or representfamous actors or scenes from a particularperformance Today as well as on the stageShakespearersquos plays are frequently re-imaginedin very successful film and TV adaptationsbut I have struggled to find more than ahandful of contemporary fine artists whohave engaged with Shakespeare on any levelPerhaps Shakespeare as a subject is seen

by some as too traditional too lsquopopularrsquoor simply just too lsquooldrsquo But in the theatreand in literature there is an ever-increasingenthusiasm for innovative interpretationsof the plays and for me Shakespeare is aconstant inspiration

e Prologue of Henry V also urges theaudience to ldquoPiece out our imperfections withyour thoughtsrdquo to liberate the imaginationand create another kind of reality to shapeour own fantasies within the ldquowooden Ordquo of

the theatre In my paintings I endeavour todo the same

Explore the work of Rosalind Lyons atwwwrosalindlyonscom

Above These Two CreaturesBelow Therersquos Magic In Thy Majesty

Roaslind Lyons

32 SHAKESPEARE magazine

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$amp( ) +-01

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Aidan OrsquoReilly

34 SHAKESPEARE magazine

Looking forRichard AidanOrsquoReilly is playingShakespearersquosbaddest monarch

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Aidan OrsquoReilly

SHAKESPEARE magazine 35

You are legally blind having been

diagnosed with retinoblastoma as an

infant How did this impact on your

acting aspirations and early career

ldquoMy parents did a good job raising me Inever grew up thinking of it as a handicap orthinking it could hold me back from what I wanted to do I couldnrsquot play sports at all soI think my parents were grateful that I hadsomething that I was passionate about from avery young age

ldquoI went to a public elementary school with a program designed for the blind so itfelt very natural for me to be the way that I was And acting has always been part of thatrdquo

You went to RADA in London Was

there a reason why you wanted to

train in England and not in the US

ldquoItrsquos always been an ambition of mine to

travel as far and wide as possible Also myhero growing up was Peter OrsquoToole ndash Iread his autobiography in high school andlearned he had gone to RADA and decided I wanted to go there too So I auditioned therenot knowing that RADA is arguably thebest drama school in the English-speaking world Consequently I was quite relaxed atthe audition which is probably why I gotin My ignorance can sometimes serve me well Going to RADA was a life-changing

Aidan OrsquoReilly is an actor with an

inspiring story Legally blind since he

was six months old he forged a passionfor drama at an early age Aidan went

on to gain a BA with honours from

Londonrsquos Royal Academy of Dramatic

Art before touring for three years with

the American Shakespeare Center

In 2012 Aidan was diagnosed with

sarcoma a rare cancer He bounced

back in 2014 after intensive treatment

and is now cancer-free We spoke to

Aidan as he prepared to play the title

role in Richard III for Californiarsquos Marin

Shakespeare Company We asked himto share his story and to give us his

take on one of Shakespearersquos most

fascinating characters

Interview by Jen Richardson

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Aidan OrsquoReilly

36 SHAKESPEARE magazine

experience I was lucky enough to havecontact with brilliant professors and Irsquom stillin awe of the students I went to school withI wouldnrsquot trade that experience for anythingrdquo After graduating from RADA you

went on the road with the American

Shakespeare Center Tell us a bit

about that

ldquoThat was one of the happiest times of mylife In many ways I got spoiled I was a working actor 11 months out of the yeartouring nationally seeing parts of the USI had never been to before doing plays Iloved and working with directors who werevehemently faithful and respectful to the text When I wasnrsquot on the road I was in residenceat the Blackfriars Playhouse in StauntonVirginia with many extraordinary actorsI was very lucky to be thererdquo

Three years ago you were diagnosed

with sarcoma How did you

overcome this enormous challenge

and return to the stage in 2014

ldquoThe only reason Irsquom still alive is because ofmy mother Lily and my wife Jocelynn AlsoI was fortunate that we caught it before it hadspread and it was on my leg and away fromany major organs

ldquoI am very grateful for my team of doctorsat UCSF who did an incredible job in mytreatment and follow-up care Irsquom glad to beback to workrdquo Yoursquore now due to play Richard III

with Marin Shakespeare Company

Howrsquos it going so far

ldquoAt this point Irsquom in the paperwork stage

of things A lot of reading the HenryVI s biographies of Richard as well asperformance history of the play itself Irsquomdoing a fair amount of limping around myapartment as well I canrsquot wait to get intorehearsals next weekrdquo Tell us about Marin Shakespeare

Company and what appealed to you

about working with them

ldquoRobert and Lesley [Currier MSCrsquos Artistic

Director and Managing Director] arefascinating people Their intelligence andhumour is contagious Without questionthere is a lot to be learned from themrdquo Richard IIIrsquos remains were discovered

in 2012 and reburied this year Is all

the new information about Richard

influencing your portrayal

ldquoYes and no My job isnrsquot to play the historicalRichard but the Richard that Shakespeare has

Aidan believesthat Richard IIIrsquosobsession withcontrol is whatcauses his downfall

ldquoPeter OrsquoToole wasmy hero He went to

RADA so I wanted to go there toordquo

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Crowning gloryAidan with MarinShakespearersquosRobert Currier

created Itrsquos helpful to know the facts of thesituation in order to gain insight into whathas been changed in Shakespearersquos versionof events

ldquoI met with a friend of mine who is a

retired surgeon who walked me through themedical information that has come to lighton Richardrsquos body and I will certainly usethat to inform my physical choicesrdquo Unlike many actors yoursquore the right

age to play the historical Richard III

Do you feel Richardrsquos relative youth

has been overlooked

ldquoI do Richard is a young man who believeshe is hardened by the experiences he andhis family endured during the War of theRoses and believes himself to be beyondhuman emotions and the lsquorestrictionsrsquo of aconscience He isnrsquot He pays the bill for thehorrible things he does That lack of self-knowledge is not exclusive to youth but I feelit makes him more sympathetic and relatableto an audiencerdquo Some people think Richard III shows

Shakespeare delivering a highly

effective piece of Tudor propaganda

Where do you stand on thatldquoI think Shakespeare has a soft spot foroutsiders and underdogs Although his playssometimes work within the confines of thebiases of Elizabethan society he canrsquot help butmake his lsquovillainsrsquo fascinating human beings

For as horrible as Richard is itrsquos amazing tosee how audiences relate and respond to himrdquo Which other important themes do

you feel Shakespeare deals with in

the playldquoThe history plays are full of extraordinarypeople who waste their lives and intelligence who sacrifice their humanity in pursuit of thecrown Itrsquos still happening today What is theattraction of power Richard never pauses tothink of why he wants the crown or if hersquodbe any good as king Turns out hersquos not butitrsquos this bizarre obsession with control thatpropels him to kill everyone off thatrsquos in his way Itrsquos also fascinating that the one characterthat is consistently kind to Richard is hisfather York

ldquoI think an argument can be made thatRichard in his warped way is trying to liveup to the image he has of his father Ofcourse York is dead and gone by the timeRichard III begins but you can glean a lotabout Richardrsquos inner workings in the way hespeaks about his father Of course itrsquos foolishto try to answer questions that Shakespearedoesnrsquot and Irsquom not trying to say this solvesa mystery but I think itrsquos interesting Itrsquos only

an element itrsquos not the answerrdquo Richard III is listed as a historical

play in the First Folio but in the

quarto edition it is termed a tragedy

Which category would you put the

play in and why

ldquoI think of the history plays from Richard II to Richard III as one vast play an epic thatencompasses all the categories I think if youlook at Richardrsquos progression through those

plays you see a great mind warped by the War of the Roses and that certainly adds tothe tragic element I think of Richard III asthe final chapter of a great epicrdquo

Aidan OrsquoReilly stars in Marin ShakespeareCompanyrsquos Richard III from 4-27 September

Aidan OrsquoReilly

SHAKESPEARE magazine 37

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Scotland Shakes

SHAKESPEARE magazine 39

Bonnie Prince

Brian Fergusonas Hamlet in theCitizens Theatre

production Photoby Tim Morozzo

Billy William Shakespeare is undoubtedly Englandrsquos

Bard But how is he viewed north of the border

Our Caledonian correspondent surveys the state

of Shakespeare in Scotland and meets esteemed

outdoor theatre company Bard in the Botanics

Words Paul F Cockburn

T owards the end of May thisyear a BBC Scotland afternoon

news bulletin surprisinglyturned its attention to aforthcoming production of

ldquoone of William Shakespearersquos best lovedplaysrdquo ndash A Midsummer Nightrsquos DreamHowever this particular production wasnrsquotconsidered newsworthy because it came froman amateur group based in Dumfries andGalloway Not even that the CrossmichaelDrama Club were one of just seven amateurScottish groups taking part in the Royal

Shakespeare Companyrsquos Open Stages project which aims to help amateur companies

extend their repertoiresNo the lsquohookrsquo was how this newproduction was Shakespeare ldquobut no asyou micht ken itrdquo Because it had beenreimagined in Scots as A MidsimmerNichtrsquos Dreme

As it happens writer John Burns saysthat his principle reason for translating AMidsimmer Nichtrsquos Dreme was simply theintuition that it being in Scots would workto the benefit of the production ldquoItrsquos not

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Scotland Shakes

40 SHAKESPEARE magazine

so much that 16th century English canrsquot docertain things more that using Scots brings itcloser to a Scottish audience and to audiences who might think Shakespeare too fancyrdquo hesays ldquoI feel too that Scots can catch the sheerphysical power of Shakespearersquos language He writes lines you really feel physically when

you say them out loud My intention was touse Scots to produce a text that was actableand which would be accessible and enjoyablefor the audience and the Scots was a majorpart of thatrdquo

Arguably translating Shakespeare intoScots ndash viewed by many as a distinct languagefrom English ndash is just one way of finding thecontinued relevancies of Shakespearersquos writing with the here and now Certainly John Burns was keen to see if Scots ldquocould match the way

Shakespeare switches tonehellip from broad attimes bawdy humour to moments that aremore serious or even sinisterrdquo

Yet there is a wider perspective whether wersquore discussing translation into Scots orsaying Shakespearersquos words with a Scottishaccent Willy Maley and Andrew Murphyin their introduction to Shakespeare andScotland (published by Manchester UniversityPress in 2004) go as far as describing thetranslation of Shakespearersquos Macbeth into

Scots as ldquoa patriotic actrdquo not least becauseof ldquothe political commitment implicit intranslating from English to Scots reversing

the dominant dubbing practice infi

lmsrdquoGlasgow-based novelist and playwright Alan Bissett ndash who actively campaigned fora Yes vote during last yearrsquos IndependenceReferendum ndash has since written about howsince the 1970s Scottish theatre had ldquoadeep engagement with the shifting beastof Scottish politicsrdquo Although Bissett wasfocusing primarily on original works byScottish playwrights and directors itrsquos worthpointing out that Shakespeare ndash despite therebeing absolutely no evidence to prove he evertravelled north of Carlisle ndash has played hisown part in this

As Maley and Murphy point outldquoScotlandhellip never had precisely the samerelationship with the Bard as England hasbut has experienced a fraught process ofappropriation incorporation and resistancerdquoIn part this is because Shakespeare ndash in hislatter career ndash was among the first lsquoBritishrsquo writers Many of his later plays ndash Cymbeline King Lear even Hamlet ndash were produced

A tartan-cladAntipholus andDromio in Bard inthe Botanicsrsquo TheComedy of Errors

Brian FergusonrsquosHamlet CitizensTheatre productionPhoto by TimMorozzo

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under the patronage of Scotlandrsquos King JamesVI (aka James I of England) Each in theirown way can be said to touch on ldquothe matterof Britainrdquo the complex relationship between

the constituent elements of Jamesrsquos newlsquounitedrsquo kingdom which the Stuart monarch was determined to see joined into oneat never quite happened of course

Even after the 1707 Act of UnionScotland retained its own legal educationaland religious systems along with anaccompanying sense of Scottish identity ndash which survived even the height of the Britishempire Yet from the 1970s on there havebeen notable changes in how Shakespeareis treated by Scotlandrsquos producing theatrecompanies Several years ago GlasgowrsquosCitizenseatre delivered a powerful Romeoand Juliet in part because of their decision toset the action in a present-day sectarian Westof Scotland ndash with accents to match

ldquoEnglish-accented Shakespeare carriesa specific resonance in Scotland one thatdirectors usually choose to avoidrdquo pointsout Mark Fisher a freelance journalist criticand author of the forthcoming book How toWrite Abouteatre

ldquoIrsquom not sure exactly when attitudesstarted to change but Irsquod say the argumentin favour of Scottish-accented productionshad been pretty much won by the 1990sBy that time companies such as Raindogand directors such as Hamish Glen hadbeen making a point of casting very Scottishproductions of Shakespearerdquo

One example of how things hadprogressed even by 1992 was the late KennyIrelandrsquos production of A Midsummer

Nightrsquos Dream his first as Artistic Directorat Edinburghrsquos Royal Lyceum ldquoHe castthe mechanicals with Scottish accents andeveryone else with English accentsrdquo MarkFisher explains ldquois I said in my review wasa fundamental error ndash or some such phrasee message it sent out was that people withScottish accents were foolish figures of fun whereas people with English accents wereserious figures of respect

ldquoIreland reacted furiously to my review

and made the case that he had based thecasting of the mechanicals around (the actor) Andy Gray who has a Scottish accent Inother words the meaning I inferred hadnot been deliberate I think itrsquos true to sayhowever that Ireland never cast a Shakespearelike that againrdquo

Gordon Barr is Artistic Director of

Glasgow-based Bard in the BotanicsScotlandrsquos only professional Shakespearecompany (see following pages)

ldquoWersquove never gone out of our way tomake Scottish versions of these texts norhave we gone out of our way to have classicaltraditional voicesrdquo he says ldquoMost of our coreactors have made their careers up here so wethink of them as Scottish actors

ldquoat is important to us to not overlylook outwards for the acting company As

much as possible we work with people who are based in Scotland Wersquore regularlyproducing Shakespeare here and we want tobe a part of the training to ensure that there isa range of strong classical actors hererdquo

Citizens Theatrewwwcitzcouk

Owen Whitehawas the Fool andDavid Hayman asLear in CitizensTheatrersquos King Lear Photo by TimMorozzo

Scotland Shakes

SHAKESPEARE magazine 41

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Bard in theBotanicsrsquo As You Like

It takes Rosalind andOrlando into theopen air

ldquoTouring is something that we have wanted to do foryears but was somethingthat we could not afford

to do without fundingrdquo says Gordon Barr Artistic Director of Scotlandrsquos only professionaloutdoor Shakespeare festival Bard in theBotanics If therersquos any irony attached tothe companyrsquos first major tour of Scotland which took place in early 2015 itrsquos that theperformances of their acclaimed Romeo and Juliet ndash featuring a cast of five ndash were playedexclusively indoors

ldquoNobody is touring classical theatre in

Scotland at the minute so itrsquos importantto usrdquo Barr adds ldquoOur work is so muchabout accessibility One of the joys of beingoutdoors is that people come to see the work who wouldnrsquot buy a ticket for a theatre Ifyou can bring a picnic sit out on the grass while watching the show it feels easier moreaccessible But people canrsquot come from Thursoto Glasgow for a night just to see a productionof Shakespeare They should be able to see itin Thurso So that is kind of where the urge totour came fromrdquo

Bard in the Botanics has presented outdoorShakespeare within the grounds of GlasgowrsquosBotanic Gardens since 2003 This yearrsquoslsquoUnlikely Wondersrsquo season presented newproductions of Loversquos Labourrsquos Lost The Merchant of Venice Richard II and A Midsummer Nightrsquos Dream in lsquoreprsquo between24 June and 1 August

The companyrsquos founder Scott PalmerBarr explains had done a lot of his training atthe Oregon Shakespeare Festival one of the

biggest in North America ldquoWith the kindof drive and enthusiasm that only Americanshave he managed to convince the entire cityof Glasgow that outdoor Shakespeare would work and that the weather wasnrsquot going to be

a problemrdquoTwo years later Palmer moved on and Barr

ndash originally involved as a director ndash succeededhim as Artistic Director ldquoIf anyone then hadsaid that I would end up spending 12 yearsrunning an outdoor Shakespeare festival I wouldnrsquot have believed themrdquo he says in hisoffice hidden behind some of the Botanicsrsquogardening sheds ldquoI very quickly fell in love with it once I started working here Despiteall the trials and tribulations that outdoortheatre in Scotland brings with it therersquos just

something magical and special about it Itrsquos a very close-knit company and thatrsquos sort of keptus all here as long as we have beenrdquo

While the annual summer season ofShakespeare plays in the Botanics will remainat the centre of what the company does ndashldquoOtherwise Bard in the Botanics becomesa rather strange namerdquo ndash Barr is very much

Outof theGarden

This year has seen Glasgowrsquos Bard in the Botanicsdo something completely unexpected They wentout on a tour of ndash whisper it ndash indoor venueshellip

Scotland Shakes

42 SHAKESPEARE magazine

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Scotland Shakes

SHAKESPEARE magazine 43

focused on building on the touring side ldquoBecause it was our first ever tour we

did end up taking Romeo and Juliet to theestablished Scottish touring circuitrdquo he addsldquoIt takes a while to build up relationships with the smaller venues thatrsquos going to bean ongoing process for us Even so we weretaking Romeo and Juliet to places like Mulland Stranraer ndash communities and venues thathavenrsquot had a lot of classical theatre comingthrough themrdquo

The choice of play was deliberate too ldquoIt was a production that was ready to go whichhad received five star reviews and sold out itsextended run in the Botanics in 2012 So weknew that the work was good but therersquos nodoubt that for a first tour we wanted to makeit easier for the venues to sell it Most venuesknow they can find an audience for Romeo and Juliet rdquo

In time he hopes that audiences aroundthe rest of Scotland will come to trust the Bardin the Botanics name sufficiently to take on theless familiar plays

ldquoYou just donrsquot know how quickly acommunity is going to turn out for Henry IV yetrdquo he says ldquoHopefully three or four toursdown the line theyrsquore going to turn out forBard in the Botanics ndash and if it happens to be

Henry IV well thatrsquos greatrdquoGiven their reimagining of A MidsummerNightrsquos Dream as a 1920s burlesque musicalis there a particular Bard in the Botanicsapproach to Shakespeare

ldquoOur kind of unofficial motto is lsquoBe BoldBe Braversquordquo Barr says ldquoIf wersquore continuingto stage these plays around 400 years afterShakespearersquos death I think therersquos an urgencyto ask lsquoWhyrsquo It is important to questionlsquoWhat is the story that we want to tellrsquo I wantto see how these plays intersect with historyand todayrsquos society not to present museumpieces

ldquoItrsquos always with an eye to try to releasesomething thatrsquos within the textrdquo Barrinsists ldquoWersquore not remotely interested ininnovation for innovationrsquos sake The playsare masterpieces thatrsquos essentially why wersquorestill doing them 400 years later But to revealsomething thatrsquos unexpected or new thatrsquosimportant to usrdquo

Bard in the Botanics

wwwbardinthebotanicscouk

Rosalind and Audreyin the forest Bardin the Botanicsrsquo As You Like It

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Shakespeare at the Tobacco Factory stf 2016 Seasonco-production with Tobacco Factory Theatres

HAMLETBy William Shakespeare

Directed by Andrew Hilton

Main run Thu 11 February ndash Sat 26 March 2016

In repertoire with Allrsquos Well That Ends WellMon 25 ndash Wed 27 April Sat 30 April 2016

The most famous play in world drama Hamlet

turns a new face to every decade So many

elements - political madness sex murder ndash all

brought together in a drama that is both a thriller

and the profoundest meditation on our human

condition

ldquoThrilling workrdquo The Guardian on Romeo amp Juliet

ldquoBullseyerdquo WhatsOnStage on Romeo amp Juliet

Shakespeare at the Tobacco Factory Friends Priority Booking opens Wed 23 September 10am

wwwstf-theatreorguk

Tobacco Factory Theatres Members Priority Booking opens Wed 16 September 10am

wwwtobaccofactorytheatrescom

Public Booking opens Wed 30 September 10am

Tobacco Factory Box Office 0117 902 0344

ALLrsquoS WELL THAT ENDS WELLBy William Shakespeare

Directed by Andrew Hilton

Main run Thu 31 March ndash Sat 23 April 2016

In repertoire with Hamlet

Thu 28 ndash Fri 29 April Sat 30 April

A young woman using skills bequeathed herby her father saves the French Kingrsquos life and

is rewarded with the right to choose her own

husband But what if the chosen one wonrsquot play

the game How can she get him into bed How

can she make him love her

ldquo There is something approaching real

magic hererdquo The Arts Desk on The School for Scandal

P h o t o s M

a r k D o u e t

Dorothea MyerBennett in Richard III

Benjamin Whitrowand Julia Hills in The

School For Scandal

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Having conquered

Hollywood and vanquished

the global entertainment

industry video games now

on our culture So where

does the Bard stand in all of

this We sent a Shakespeare

scholar to investigatehellip

Words Andrew Bretz

Shakespeare video games

46 SHAKESPEARE magazine

T eGamersquos A oot Silent Hill is one

big-name gamewhich includesShakespearereferences

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Shakespeare video games

SHAKESPEARE magazine 47

German cardboard Macbeth datingfrom the early1800s

Hamlet reimaginedRyan Northrsquos To Be

Or Not To Be

W

hen you walk intothe wood panelled Victorian Gothicismof the Gail Kern Paster

Reading Room at theFolger Shakespeare Library in WashingtonDC video games are probably the lastthing on your mind Buried deep withinthe archives however are a set of fragilecardboard figures printed in Germany in theearly 1800s representing each of the maincharacters of Macbeth

Nineteenth century German children would play with these figures on smallcardboard stages no bigger than a dollhouseey could replicate the story as it was toldin Shakespeare or use their imagination tochange the ending letting Lady Macbethsurvive and bringing Duncan back from thedead if they so chosee limits of the game were the limits of their imagination

Today the lsquogamificationrsquo of Shakespeareis a big business from Ryan Northrsquos choose-your-own-adventure edition of Hamlet To Be Or Not To Be to IDW Gamesrsquosupcoming Kill Shakespeare board gamebased on the comic of the same name

Gamifying Shakespeare is filtering intoschools libraries and the theatrical worldas well with the University of California atDavis the Stratford Festival in Ontario theGlobeeatre in London and the LondonMetropolitan Archives all experimenting with video game elements in exhibits productionsand research

Why video games In a sense this is thelogical next step in the media development ofShakespeare Hersquos everywhere in other media

books movies merchandise But videogamese answer for that depends on whoyou ask

StorytellingOccasionally individuals or publishinghouses develop video games that try to tellthe story of say Hamlet yet this is relativelyrare One example would be Elsinore a time-looping narrative adventure game set in the world of the play Players play the game as

Ophelia who wakes up knowing that in fourdays the entire court will be dead and shemust do something to stop ite problemis that she is stuck in a time loop reliving thesame four days over and over againat said Shakespearersquos presence in the

video game industry tends to be focused oncitation rather than adaptation of the playsat is video games for Xbox Playstationand other popular gaming systems often

just cite Shakespearersquos plays as a part of acommon cultural heritageese games donrsquotrestage say Hamlet but they quote the playIn these cases Shakespeare is used to establisha point of identification for the audience His writing tells the audience something aboutthe character or the situation

Given that audiences are supposedto be able to identify the quotations asShakespearean it is unsurprising that Hamlet is the most popular text for game designers to

cite Ine Elder Scrolls Online for instancea merchant NPC (non-player character)quotes Polonius when players interact sayingldquoNeither a borrower nor a lender berdquoe words establish the NPCrsquos role as a merchant while fitting the medieval world of thegame In the game LA Noire upon pickingup a fake shrunken head at a crime scene adetective leaps into high melodrama withldquoAlas poor Yorick I knew him Horatiordquoequotation and the clever voice acting establish

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Shakespeare video games

48 SHAKESPEARE magazine

the characterrsquos strait-laced yet macabre senseof humour

Sometimes citing Shakespeare is a partof a critique of a larger theme In the game Mass E ff ect the Elcor are a race of elephantinealiens who preface all statements with adescription of the emotion they are feelingand who speak in a slow monotonous drone As players interact with the expansive worldthey can discover a number of advertisementsfor an all-Elcor Hamlet e idea of theElcor actor ndash the ultimate in a flat woodenperformer ndash having to preface ldquoTo be or not

to berdquo with ldquomorose ruminationrdquo goes beyondthe simple humour of a bad Shakespeareperformance It subtly asks what it is aboutacting (and especially voice acting) that isvaluable

Shakespeare can appear in video gamesnot merely as a marker or contextualisationtool but as a part of a puzzle For example inthe game Silent Hill 3 players must arrange aset of Shakespeare anthologies on a bookshelfin an abandoned shopping mall in order to

proceed in the game At the hardest levelthe puzzle clue takes the form of a poemthat references all the major tragedies Romeoand Juliet King Lear Macbeth Othello andof course Hamlet e bloody nature of thetragedies fits with the bloody nature of theSilent Hill series of games which fall into thesurvival horror genre

Popular video games have also servedas the inspiration for games that engage with Shakespeare in a more direct way For

example Daniel Fischlin at the Universityof Guelph in Ontario Canada led a teamthat created a Flash game called rsquoSpeare Itrsquos

a scrolling arcade-style game suggesting thersquo80s hit Galaga which sees players identifyingand navigating through a series of enemies who turn into words upon being destroyede player progresses through the levelsby collecting the correct words to createShakespearean quotes learning Shakespeareantrivia along the way

ImmersionOne of the most exciting aspects of videogames is the ability to immerse the player inthe world of the game in a way that othermedia simply cannot do Being able to walkaround Prosperorsquos cell Julietrsquos balcony orto stand before the ghost of Hamletrsquos fatheras he cries out ldquoList list O listrdquo ndash theseexperiences are made possible through videogame technology

Students of Scenic Arts at the Universityof Hildesheim in Germany created Projekt ARIEL or SturmMOD in 2008 using a lsquomodrsquo(or modification) to the engine that runs

the game Far Cry 1 e performance artproject allowed users to experience Prosperorsquosisland interacting with certain parts andexploring others Players could walk aroundan imaginative rendition of Prosperorsquos cell and witness or interact with elements of the playincluding diff erent characters like CalibanProspero and Miranda

Four days to savethe Danish court

Elsinore

Another Hamlet reference this timein LA Noire

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Shakespeare video games

SHAKESPEARE magazine 49

Gina Bloom at the University of Californiaat Davis is presently spearheading a projectthat will be demonstrated in the lobby of theStratford Festival theatre in Ontario Canadathis summere project Play the Knave AShakespeare Performance Videogame lets usersdesign a virtual performance space and thenperform a scene from a Shakespeare playinhabiting this constructed space with anavatar As a Davis insider explains ldquoWe use akinect motion capture camera to capture theuserrsquos skeletal data so that players use theirentire bodies to control their avatarrsquos gesturesonscreen all the while reciting the lines from

Shakespearersquos scenerdquo is literally immersesthe players in the scene

Shakespearersquos Globe eatre in Londontook another tactic regarding immersionin the production of the game HemmingsrsquoPlay Company Hosted on the Playgroundportion of the Globersquos website and thusaimed at an audience of children the gamehas players taking on the role of Hemmingsan Elizabethan bear who leads a troupe oftheatrical animals such as Kit the Cat Dekker

the Dog and Slye the Foxe turn-based game leads players through

the vagaries of Elizabethan theatre practicefrom patronage to lost props and the plagueBy the end of the game players must earnenough money to rebuild the Globe after itburns down during a performance of HenryVIII

Also from Shakespearersquos Globe are twoinnovative video experiences created forchildren aged five to 11 e first Exploring

Shakespeare features two boys on a tour ofthe Globe theatre who sneak off to explorebackstage e video illustrates four plays

using short animations that are keyedto things the boys find backstage etechnology combines live action film andanimation to create an interactive touchablegame Filled with mini-games quizzes andinteresting facts about Shakespeare the gameallows players to click through the narrativeor to stop and learn more as they go along

e second video called Staging It usesthe same technology as the first film but thistime is for the 11-16 age group In this gamee Globe has filmed two actors performingfamous duologues from A MidsummerNightrsquos Dream and Macbeth on the Globestage Rather than shoot it once the actorshave performed their lines in diff erent ways(happy flirtatious defensive and so on)creating several diff erent clips per linePlayers can watch each of the clips and addtheir choice to a dynamic storyboard tobuild up their final scene Impressively theplatform allows for up to 1000000 diff erentcombinations of clips

Apps and Mini-GamesItrsquos when you start to look outside of therealm of popular video game platformslike Xbox or Playstation that Shakespeare

Silent Hill 3 Brush upyour Shakespeare ifyou want to survive

Hemmingsrsquo PlayCompany fromShakespearersquosGlobe

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Shakespeare video games

50 SHAKESPEARE magazine

really starts to pop up wherever you looke ubiquity of Shakespeare is especiallynoticeable when you start to look at apps andmini-games designed for phones and tablets

In 2012 Big Fish Games released aniPhone and iPad game called Hamlet that featured all the main characters ofShakespearersquos play but transposed them intoa save-the-princess narrative puzzle game A time traveller lands in Denmark andaccidentally kills Hamlet and so players mustcomplete his journey for him saving Opheliaand killing Claudiuse Shakespeareancontent is minimal and heavily adapted andyet it fits with the puzzle format in whichShakespeare tends to be found in videogamese Chronicles of Shakespeare Romeo amp

Juliet ande Chronicles of Shakespeare A Midsummer Nightrsquos Dream are lusciously-illustrated puzzle games for the PC In themplayers act as one of the characters from theplays gathering items and clues through aShakespearean environment

Among the literally thousands of appsrelated to Shakespeare that can be found forthe iPad or Android tablet are

e Shakespearean Insult Creator which generates invectives drawn from a wholly Shakespearean vocabulary So nexttime you want to call someone a jerk trysomething more like ldquoou fusty follyfallenfustilarianrdquo

e Shakespeare Translator whichtranslates ldquonormal English words and phrasesinto the words of Shakespeare himselfrdquo

e Shakespeare Fortune Cookie which provides short quotes from the plays

and a small trivia game Shakespeare or Die a game that

scrambles the words of famous quotationsfrom the plays and asks you to identify theplay and character who spoke the line If youmake a mistake however beware the witchesese apps are either explicitly games or

they are coming out of a game-like impulse tomake Shakespeare more accessible to everyone with an internet connection

Brave New WorldsIn a world where Shakespeare is an industrycounted in the millions of dollars per yearit is so easy to forget that Shakespearersquos playsare just that ndash playsere is a sense of joyand fun and happiness embedded in theexperience of watching them Games are oneof the ways that people over the centuries

have tried to recapture that elusive sense ofplayfulness within Shakespeare So it makesperfect sense that now with the advent ofdigital technologies Shakespeare is movinginto the digital world with a vengeance

From big studio games likee ElderScrolls to small apps that can be downloadedfor free from talking bears to immersiveperformance experiences Shakespeare iseverywhere in video games Rather than beingan undiscovered country into which the Bard

is only just beginning to emerge games havein fact engaged with Shakespeare and his works for hundreds of years And they willprobably continue to do so for hundreds ofyears to come

rsquoSpeare is a scrollingarcade-stylegame with addedShakespeare trivia

Hamlet is aShakespeare-themed puzzle fromBig Fish Games

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Meet thy makers

Helen Mears fell into bardolatryduring her teenage years and has

never recovered She is a volunteersteward at Shakespearersquos Globe

which ensures a regular diet of theBard She teaches English Film andMedia at Suffolk New College and isa specialist in teaching Shakespeareusing active methods Her favouriteShakespearean actor is Jamie Parker

and her favourite plays are the SecondHistory Tetralogy She hopes to

finish her Masters in the AdvancedTeaching of Shakespeare very soonFind her on Twitter hipster_hels

Paul F Cockburn is an Edinburgh-based freelance magazine journalist who specialises in writing about

arts and culture equality issues andpopular science Hersquos sufficiently

grey-haired for his English Literaturetraining to have sort of overlapped

with The BBC Television Shakespeareproject saving at least some of the

plays from death by academiaFind him on Twitter paulfcockburn

Jen Richardson first fell in love withShakespeare as a 15-year-old schoolgirl

ldquoHe got under my skin and hersquos still theretodayrdquo After training with a Manchester-based drama tutor she went on to pursuean acting career Drama remains a greatinterest but her focus is now on sharing

her passion for Shakespeare throughher writing In her spare time Jen is

generally down in Stratford-upon-Avonsitting on her favourite bench behind

Holy Trinity ChurchFind her on Twitter The_JenJen

Andrew Bretz is a sessional instructorof English Literature and Drama

specialising in early modern dramaHe has taught at Wilfrid LaurierUniversity the University of Guelph

Brock University and McMasterUniversity For the past two years he

has taught a special summer intensiveat Ontariorsquos Stratford Festival His PhDdissertation was on the representationof sexual violence on the early modern

stage Find him on TwitterAndrewBretz001

Just some of the contributors to this issue of Shakespeare Magazine

Rosalind Lyons is a painter whohas exhibited widely in both mixedand solo shows with work in UK

and international private collections A life-long love of Shakespeare isreflected in many of her paintings

and a particular recent focus isShakespearersquos Globe theatre where shespent a period as artist-in-residenceShe is currently studying for a PhD

in Painting and ShakespeareanTheatre at Anglia Ruskin University

in CambridgeFind her on Twitter roslyons

52 SHAKESPEARE magazine

Contributors

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Page 17: Shakespeare Magazine 08

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Even more than London there

is one place above all that is

green and pleasant landhellip

Words Helen Mears

Pictures Helen Mears and Susan Braund

Stratford-upon-Avon

SHAKESPEARE magazine 19

W e could be in any smallpicturesque Englishtown with its medievalchurch half-timberedTudor buildings shops

restaurants and delightful riverside walksBut Stratford-upon-Avon is not just any

town Itrsquos one of the best-known most- visited and probably most-loved locations inEngland Thatrsquos because itrsquos the birthplace of William Shakespeare Itrsquos also the place heseems to have considered his home After allShakespeare grew up there went to schoolthere and spent his final days there

So here is Shakespeare Magazinersquos on-the-ground guide to Stratford-upon-Avon Hereyoursquoll find hints and tips for first-time visitorsand returning aficionados alike What to see

the best ways to see it where to stay where toeat and how to get around while yoursquore there Are you ready Then letrsquos start our tourhellip

The BirthplaceSurely the must-visit spot for any self-respecting Bardolator this is where it all beganndash the six-roomed Merchantrsquos House on HenleyStreet where in April 1564 Mary Shakespeare wife of glover John gave birth to their famousson Williame house is approached

HOME

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20 SHAKESPEARE magazine

through the Shakespeare Centre on the left-hand side of the Birthplace A short exhibitionshows you items such as a prized First Folioand the foot of Stratfordrsquos Old Market Cross

from where glover John Shakespeare wouldhave sold his wares A walk through the gardens leads to

the house itself You enter through theself-contained annexe where William and Anne Shakespeare spent the first years oftheir married life and where their childrenSusannah Judith and Hamnet were born eannexe was later occupied by Williamrsquos sister Joan You can walk through the parlour andthe dining room to Johnrsquos workshop where heproduced gloves and other leather goods

A staircase leads to two bedrooms onefor the girls one for the boys and a loft spaceis visible where the apprentices would haveslept Finally you reach the birth room themain bedroom in which William and his sevensiblings were born

Guides are on-hand in all rooms to tell youtheir history and other gems of informationComplete your visit by watching classicShakespearean speeches performed in thegarden by resident acting troupe Shakespeare

Aloud and then picking up some souvenirs inthe gift shop and excellent bookshop

e five house ticket is the best value givingyou entry to all of the properties (HarvardHouse is a current alternative to New Place)and allowing you to view Shakespearersquos Gravein Holy Trinity Church

The Avon and Boat trips A walk along the Avon is a must in any seasone gentle stroll from the RSC to Holy Trinity

Church will take you past drooping willowssmoothly sailing swans and green parklandFor a diff erent perspective on the town you cantake a boat trip along the river itself Startingfrom near the RSCeatre you cruise gentlydown to the church where Shakespeare wasbaptised and buried before turning back andheading past the theatre and under CloptonBridge Itrsquos a bridge that William himself would have known built as it was around1480 e Avon is very pretty everywhere

you look are the incredible tame (and alwayshungry) swans and picturesque houseboatse banks are lined with weeping willows that just might have been the inspiration for poorOpheliarsquos watery end in Hamlet If you wouldrather take a slower self-driven trip there arerowing boats canoes and small speedboatsfor hire Beware though these are not aseasy to control as they look and you may wellspend a good proportion of your allottedtime relearning how to row and avoiding

Stratford-upon-Avon

The birth roomat ShakespearersquosBirthplace

Molly fromShakespeare Aloudin the Birthplacegarden

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SHAKESPEARE magazine 21

other hapless river tra ffic Boat trips typicallylast for around 40 minutes and are especiallypleasant in the late afternoon when the sun setsslowly behind the church steeple For addedluxury you can take a restaurant cruise where

afternoon tea or an evening meal are served onboard or as a quicker cheaper alternative youcould take the chain ferry across the Avoneferry dates from 1937 and is the last of its kindin the UK

Nash House and New Place

As well as the Henley Street property theShakespeare Birthplace Trust care for fourother locations in and around Stratford allassociated with Williamrsquos family Nash House

and New Place were adjoining propertieseformer was the home of Judith Shakespeareand her husband while the latter was thefamily home that William purchased in 1597at the time the second most expensive housein the town Sadly it was demolished by asubsequent owner but the Trust are currentlyundertaking a massive renovation of the siteis means that the properties will not be opento the public until 2016 to coincide with the400th anniversary of Shakespearersquos death

Hallrsquos Croft

A brief walk from New Place will take youto Hallrsquos Croft the home of SusannahShakespeare and her husband the physician John Hallis is an interesting property in its

own right and is partly set up to show how apractising physician would have worked at thetime A special mention too must goe Arterthe award winning independent craft shopadjoining the building and to the beautifulgarden in which open air performances ofShakespearersquos plays are sometimes performed

Stratford-upon-Avon

Holy TrinityChurch viewedfrom the Avon

Nash House andNew Place

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22 SHAKESPEARE magazine

Anne Hathawayrsquos Cottage A short distance from Stratford is Shottery where you can find the beautiful cottage

which was the home of the Hathaway familySet in yet another lovely garden this is thehouse in which Anne Hathaway grew upand was courted by the young William JohnShakespeare served with Anne Hathawayrsquosfather on the town council so their childrenprobably knew each other from a young agee family remained associated with thecottage for several centuries and have spunmany a yarn about the young lovers theveracity of which are highly questionable

However the stone floor of the kitchen isoriginal and we know that William must have walked those stones many many times

Mary Ardenrsquos Farme last of the Shakespeare properties is Mary Ardenrsquos Farm Shakespearersquos mother lived hereand itrsquos where she probably took the infant William when plague broke out in Stratfordshortly after his birth Open from March toNovember only the farm is run as a working

Tudor farm with costumed guides caring forthe buildings and the animals Itrsquos a great placefor a family day out with plenty to see and doand numerous activities runningere are

daily falconry shows archery animals to feedand games to play You can even treat yourselfto a genuine Tudor meal in the cafe ndash pottageand home-baked breads are a speciality

What if you donrsquot have a care town itself is fairly small and all themain attractions are within walking distanceHowever the easiest way to get around and toenable a visit to Anne Hathawayrsquos Cottage andMary Ardenrsquos farm is to the Hop On-Hop Off City Sightseeing busis will take you to allthe main town locations and also to Shotteryand Wilmcote A day ticket will give youunlimited access to the buses and allow you tovisit all of the Shakespeare properties e buscan be picked up by the statue of Touchstonethe jester at the top end of Henley Street

Walking Tours Another excellent way to see the main sites ofStratford and to learn some of the historicaltales of the town is to take a walking tour

Stratford-upon-Avon

Anne HathawayrsquosCottage

Mary Ardenrsquos Farm

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ere are several options depending on thetype of tour yoursquod likee town guides runhistorical tours of the town every day (yesevery day) of the year For those who like to be

a bit more daring there are evening ghost walksled by costumed guides who will tell you someof the spooky tales of Stratford Both of thesetours start from the Swan Water Fountain onthe riverside

Or if you like the idea of being guidedby Shakespeare himself on a Saturday (andMonday to Saturday through the summerholidays) there are town walks led by the manhimself (or someone who looks an awful lotlike him)ese run from Tudor World onSheep Street an interesting museum in thehouse that belonged to the man who wasallegedly the model for Sir John Falsta ff

Holy Trinity Church Another must-see is the townrsquos 13th centurychurch with its distinctive spire that dominatesthe view from the river Remember that if youhave a ticket to the Birthplace properties yourvisit to the grave is free e church is famousfor being where William Shakespeare wasbaptised on 26 April 1564 e old font that

was used for the baptism is displayed in thechancel along with copies of both the registerof baptism for April 1564 and the register ofburials for April 1616 where Shakespearersquosname can be clearly seen Also in the chancelin front of the altar are the Shakespeare familygraves Williamrsquos bears its infamous curse

ldquoGOOD FRIEND FOR JESUSSAKE FOREBEAR

TO DIGG THE DVST

ENCLOSED HEREBLESTE BE YE MAN YT SPARESTHESE STONES

AND CURSED BE HE YT MOVESMY BONESrdquo

On the wall above the grave is the effigy of

Shakespeare Itrsquos one of the few images which was produced within the lifetime of AnneShakespeare and probably one of the mostauthentic likenesses of her husband

The Guildhall and King EdwardrsquosSchoolDirectly opposite the site of New Place standthe Guildhall and the townrsquos old grammarschool Both of these places have links to theShakespeare family King Edwardrsquos Schoolis where the young William is believed tohave studied and itrsquos probably where hefirst encountered the classical texts which soinspired him As the son of a town councillorhe would have been entitled to a placee

old school is sometimes open to visitors at weekends or during the holidays but theschool has just won a lottery grant whichshould enable them to open it as a permanentattraction e Guildhall was sometimes hostto groups of travelling players and so it couldbe the site where young William first sawtheatrical performances It is widely believedthat John Shakespeare owing to his role astown bailiff was responsible for supervising the whitewashing of the medieval Doom Painting

Stratford-upon-Avon

SHAKESPEARE magazine 23

The GuildhallDoom Painting

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24 SHAKESPEARE magazine

Stratford-upon-Avon

is has been recovered and is now once againvisible above the chancel arch

The Royal Shakespeare CompanyTheatre and the riversidee riverside park is home to several interestingsights It is from here that you can get a view ofthe Clopton Bridge pick up a river cruise feedthe swans and admire the Gower Memoriale memorial was presented to the town in1888 and features a statue of Shakespeareseated upon a plinth overlooking statues offour of his best known charactersese areHamlet Prince Hal Sir John Falsta ff and Lady

Macbeth who represent Comedy HistoryPhilosophy and Tragedy Closer to the theatreis the beautiful Swan Water Fountain unveiledin 1996 If you see the water frothing fear notit seems to be a sport amongst local youngstersto fill the fountain with washing up liquid on aregular basis

e Royal Shakespeare Companyeatre was built in 1932 but has recently undergonea complete refurbishment in both the mainand the Swan theatres e building reopened

in 2010 with both theatres having beenconverted to boast thrust stages and curvedgalleries similar in shape to the originalElizabethan playhousese world renowned

Royal Shakespeare Company performshere throughout the year staging plays byShakespeare and his contemporaries as well asby newer authors ey also run an educationprogramme exhibitions family activitiesduring the school holidays and theatre toursTo see Stratford from an entirely diff erentangle take the lift up the 36 metre high towerfor spectacular views across the town

Where to eat and drinkStratford has an excellent range of eateriesto suit all tastes and budgets ere is pubgrub afternoon teas world cuisine finedining pizza pasta and fish and chips Manyrestaurants off er pre-theatre menus and ifyoursquove been on a town walk you may find thatyou can get discount vouchers for your foodere are many pubs in Stratford including theGarrick Inn the oldest pub in the town whereyou can taste the Shakesbeer specially brewedto celebrate Shakespearersquos 450th Birthday in2014 If you want to spot RSC cast members

relaxing after their showse Dirty Duck on Waterside is the place to drink

Where to stay Again Stratford-upon-Avon has a good varietyof hotels bed and breakfasts and holidayhomes All the main chains have hotels inthe town from budget brands to the luxurynamesere is an excellent choice of bedand breakfast establishments in and aroundthe town again these will suit all tastes and

budgets Airbnb also has an interesting rangeof rooms flats and houses to rent in StratfordHowever be sure to book early especially forthe prime summer months

The Shakespeare Birthplace Trustwwwshakespeareorguk

The GowerMemorial Will andPrince Hal

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M

any places around the worldhave been named afterStratford-upon-Avon thebirthplace and home of William

Shakespeare And many of those Stratfordsare home to theatre festivals of varying sizesStratford in the state of Victoria in Australiahas an annual Shakespeare festival still goingevery year while Stratford in Connecticut inthe USA had a major theatre from the mid1950s to the mid 1980s Stratford Ontarioin Canada however stands out among thesetowns and festivals not merely in scope but ininternational reputation and prestige

In 1950 Canada had no home-growntradition of classical theatre Certainly

Shakespeare was performed but there hadbeen a strong anti-theatrical movement inCanada throughout the 19th century whoseeffects still lingered throughout the first half ofthe 20th As a cultural icon Shakespeare wasedifying to be sure but certainly not to beperformed The Stratford Festival changed allof that for Canada

In the late 1940s the local newspapers andgovernment of the town conceived of the ideaof revitalising Stratfordrsquos sagging economy by

capitalising on the name of the town and its

long association with the Bard They bandedtogether and under the leadership of TomPatterson they brought over Tyrone Guthrieand Alec Guinness for the first season in1953 Guthrie had famously directed Gielgud

inHamlet

at Elsinore Castle in Denmarkand had been the manager of the Old Vic inLondon He wanted to create an acting spacethat echoed the original Globe theatre whereactors were surrounded by the audience incontrast to the proscenium arch theatres thatdominated the London and New York scenes

From the first performance which tookplace inside a giant circus-style tent on thebanks of the Avon River the festival workedto create a new aesthetic of Shakespeareanperformance The thrust stage of the FestivalTheatre designed by Tanya Moiseiwitschhas been recognised as one of the greatinnovations in stage design of the 20th centuryGenerations of actors have had to learn howto address an audience on three sides of themsometimes only an armrsquos length away

The festival has been central to the careersof Canadian actors such as ChristopherPlummer Martha Henry and even WilliamShatner Actors from the US and UK havesought to play the festival as well including

Peter Ustinov Christopher Walken and JessicaTandy Indeed these international stars notonly lend credibility but have indelibly markedthe festival For instance Maggie Smithrsquosperformance as Rosalind in As You Like It inthe 1977 and 1978 seasons is legendary in thecompany and the town

Today the festival has expanded to includemultiple performance spaces a theatre schooluniversity accredited courses and the largesttheatrical costume shop in North America

It has started countless careers inspiredcompanies such as Torontorsquos SoulpepperTheatre and helped shape the Canadiantheatre landscape for over 50 years

Stratford Festival ndash Ontario Canada

wwwstratfordfestivalca

MEANWHILE

IN CANADATherersquos more than just one Stratford you knowAnd the one in Ontario Canada has a world-renownedShakespeare Festival gives us a tour

Stratford Ontario

SHAKESPEARE magazine 25

ldquoFrom the fi rst performancethe Festival worked tocreate a new aesthetic ofShakespearean performancerdquo

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Planning to performa short selection

from Shakespeare

The 30-Minute Shakespeare

Anthology contains 18 abridged

scenes including monologues from

18 of Shakespearersquos best-known plays

Every scene features interpretive stage

directions and detailed performance

and monologue notes all ldquoroad testedrdquo

at the Folger Shakespeare Libraryrsquos

annual Student Shakespeare Festival

THE 30-MINUTE SHAKESPEARE is an acclaimed series of abridgments that tell the story of each play while keeping the beauty ofShakespearersquos language intacte scenes and monologues in this anthology have been selected with both teachers and students inmind providing a complete toolkit for an unforgettable performance audition or competition

NICK NEWLIN has performed a comedy and variety act for international audiences for more than 30 years Since 1996 he hasconducted an annual teaching artist residency with the Folger Shakespeare Library in Washington DC

The 30-Minute Shakespeare series is available in print and ebook format at retailersand as downloadable PDFs from 30MinuteShakespearecom

The 30-Minute Shakespeare Anthology

includes one scene with monologue

from each of these plays

ldquoLays the groundwork for a truly fun and sometimes magical

experience guided by a sagacious knowledgeable and intuitive

educator Newlin is a staunch advocate for students learning

Shakespeare through performancerdquo mdashLibrary Journal

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Roaslind Lyons

28 SHAKESPEARE magazine

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For UK artist Rosalind Lyons the Bard is a

constant presence in her creative life She tells

us how Shakespeare inspired the haunting and

dreamlike works that adorn these pages

Words and paintings by Rosalind Lyons

Rosalind Lyons

SHAKESPEARE magazine 29

Left TheRoaring Boys

PAINTINGSHAKESPEARE

S hakespeare has long been at the heart ofmy work sometimes directly and obviouslyin the subjects and often in the titlesBut always Shakespearersquos words charactersand stories are there in my head when Iam painting ndash a perpetual conscious andunconscious presence

My style echoes that of the Renaissancepainters and Elizabethan portraits andthese influences combined with a life-long love of Shakespeare made my firstvisit to Shakespearersquos Globe pivotal Iexperienced a powerful sense of connectionand recognition Here suddenly ideasand themes with which I had been so longpreoccupied were brought to life

I subsequently gained access to theGlobe to draw and later spent some time

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as Artist in Residence thereat experienceprompted more in-depth exploration notonly of Shakespeare and painting but of therelationship between painting and theatreere are of course the strong visualconnections ndash both are spaces for spectacleand illusion But also compelling ideas oftransformation imagination storytelling andidentity And overall the theme of ambiguitye blurring of boundaries between realityand fiction male and female light andshadow past and present I am fascinated byhow we respond to history how we re-presentand re-imagine the past And the figures inmy paintings are imagined as belonging toboth now and then ndash flitting back and forthacross the threshold between past and presentbetween Shakespearersquos time and our own

modern worldI have painted some specific characters

from Shakespeare but many subjects ofmy paintings are anonymouse figuresare unknown their place purpose role is amysteryis anonymity is unsettlingereare clues in the setting in the costumes ndash orperhaps I should just say in the clothes theyare wearing ndash but the context is not obviousI am fascinated by the dramatic convention ofcross-dressing ndash and particularly the inherent

confusion as with Rosalind ( As You Like It )and Viola (Twelfth Night ) in the idea of aboy playing a girl playing a boy Many of thecharacters I invent are androgynous theirgender and age uncertainis ambiguityof identity interests me in the context ofvisual illusion and theatrical transformationthe idea of inbetween-ness and somethingunresolved

Like theatre my paintings are concerned with inventing characters and the creation

Right No MoreYielding But A

Dream

Roaslind Lyons

30 SHAKESPEARE magazine

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of an imaginary world and I am particularlyattracted to the fools fairies and witchesIn A Midsummer Nightrsquos Dream the fairiesrsquoactions may seem malevolent or benign or just mischievous but there is definitely a dark

side an underlying sense of threate Fool too is intriguing Shakespearersquosfools frequently describe themselvesor are referred to as a nobody but areunquestionably much moree fool is anoutsider concerned with but at the same timeseparate from the story He ndash or sometimesshe ndash doesnrsquot quite belong anywhere butseems to exist on the boundary between thefamiliar and the uncanny

I am attracted to the strange to mysteryand shadows and try to express through myimages a strong feeling that it could be thator maybe something else As Orsino says atthe conclusion of Twelfth Night ldquoA naturalperspective that is and is notrdquo While makinga painting and even when it is finished Idonrsquot know really who my characters are ndashthey remain elusive But I like not knowingand ultimately meanings always change anddepend on individual perceptions

My experience at the Globe led to aparticular fascination with the ambiguous and

protean quality of the theatrical performerhow their identity transforms and fluctuatesI was attracted by this when watching

Rosalind Lyons

SHAKESPEARE magazine 31

Above A MidwinterNightrsquos Dream

Right Three Fools

Far right FollowingDarkness

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rehearsals observing actors shift between selfand impersonation between diff erent realitiesand identities When they are not acting theyndash metaphorically and often literally ndash melt

into the shadows I am interested too in thephysical and symbolic threshold between lsquoonrsquoand lsquooff rsquo-stage the transformation inherentin an actor moving from the wings onto thestage assuming another self and anotheridentity Particularly evocative is the fact thatactors were colloquially known as shadowsin the Elizabethan playhouses ndash suggestingsomething unknowable and insubstantialIn the Prologue to Henry V Shakespeare hasthe Chorus describe the players as lsquociphersrsquoimplying deception and secrecy

Artists in the past who have tackledShakespeare have generally produced imagesthat directly illustrate the text or representfamous actors or scenes from a particularperformance Today as well as on the stageShakespearersquos plays are frequently re-imaginedin very successful film and TV adaptationsbut I have struggled to find more than ahandful of contemporary fine artists whohave engaged with Shakespeare on any levelPerhaps Shakespeare as a subject is seen

by some as too traditional too lsquopopularrsquoor simply just too lsquooldrsquo But in the theatreand in literature there is an ever-increasingenthusiasm for innovative interpretationsof the plays and for me Shakespeare is aconstant inspiration

e Prologue of Henry V also urges theaudience to ldquoPiece out our imperfections withyour thoughtsrdquo to liberate the imaginationand create another kind of reality to shapeour own fantasies within the ldquowooden Ordquo of

the theatre In my paintings I endeavour todo the same

Explore the work of Rosalind Lyons atwwwrosalindlyonscom

Above These Two CreaturesBelow Therersquos Magic In Thy Majesty

Roaslind Lyons

32 SHAKESPEARE magazine

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$amp( ) +-01

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Aidan OrsquoReilly

34 SHAKESPEARE magazine

Looking forRichard AidanOrsquoReilly is playingShakespearersquosbaddest monarch

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Aidan OrsquoReilly

SHAKESPEARE magazine 35

You are legally blind having been

diagnosed with retinoblastoma as an

infant How did this impact on your

acting aspirations and early career

ldquoMy parents did a good job raising me Inever grew up thinking of it as a handicap orthinking it could hold me back from what I wanted to do I couldnrsquot play sports at all soI think my parents were grateful that I hadsomething that I was passionate about from avery young age

ldquoI went to a public elementary school with a program designed for the blind so itfelt very natural for me to be the way that I was And acting has always been part of thatrdquo

You went to RADA in London Was

there a reason why you wanted to

train in England and not in the US

ldquoItrsquos always been an ambition of mine to

travel as far and wide as possible Also myhero growing up was Peter OrsquoToole ndash Iread his autobiography in high school andlearned he had gone to RADA and decided I wanted to go there too So I auditioned therenot knowing that RADA is arguably thebest drama school in the English-speaking world Consequently I was quite relaxed atthe audition which is probably why I gotin My ignorance can sometimes serve me well Going to RADA was a life-changing

Aidan OrsquoReilly is an actor with an

inspiring story Legally blind since he

was six months old he forged a passionfor drama at an early age Aidan went

on to gain a BA with honours from

Londonrsquos Royal Academy of Dramatic

Art before touring for three years with

the American Shakespeare Center

In 2012 Aidan was diagnosed with

sarcoma a rare cancer He bounced

back in 2014 after intensive treatment

and is now cancer-free We spoke to

Aidan as he prepared to play the title

role in Richard III for Californiarsquos Marin

Shakespeare Company We asked himto share his story and to give us his

take on one of Shakespearersquos most

fascinating characters

Interview by Jen Richardson

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Aidan OrsquoReilly

36 SHAKESPEARE magazine

experience I was lucky enough to havecontact with brilliant professors and Irsquom stillin awe of the students I went to school withI wouldnrsquot trade that experience for anythingrdquo After graduating from RADA you

went on the road with the American

Shakespeare Center Tell us a bit

about that

ldquoThat was one of the happiest times of mylife In many ways I got spoiled I was a working actor 11 months out of the yeartouring nationally seeing parts of the USI had never been to before doing plays Iloved and working with directors who werevehemently faithful and respectful to the text When I wasnrsquot on the road I was in residenceat the Blackfriars Playhouse in StauntonVirginia with many extraordinary actorsI was very lucky to be thererdquo

Three years ago you were diagnosed

with sarcoma How did you

overcome this enormous challenge

and return to the stage in 2014

ldquoThe only reason Irsquom still alive is because ofmy mother Lily and my wife Jocelynn AlsoI was fortunate that we caught it before it hadspread and it was on my leg and away fromany major organs

ldquoI am very grateful for my team of doctorsat UCSF who did an incredible job in mytreatment and follow-up care Irsquom glad to beback to workrdquo Yoursquore now due to play Richard III

with Marin Shakespeare Company

Howrsquos it going so far

ldquoAt this point Irsquom in the paperwork stage

of things A lot of reading the HenryVI s biographies of Richard as well asperformance history of the play itself Irsquomdoing a fair amount of limping around myapartment as well I canrsquot wait to get intorehearsals next weekrdquo Tell us about Marin Shakespeare

Company and what appealed to you

about working with them

ldquoRobert and Lesley [Currier MSCrsquos Artistic

Director and Managing Director] arefascinating people Their intelligence andhumour is contagious Without questionthere is a lot to be learned from themrdquo Richard IIIrsquos remains were discovered

in 2012 and reburied this year Is all

the new information about Richard

influencing your portrayal

ldquoYes and no My job isnrsquot to play the historicalRichard but the Richard that Shakespeare has

Aidan believesthat Richard IIIrsquosobsession withcontrol is whatcauses his downfall

ldquoPeter OrsquoToole wasmy hero He went to

RADA so I wanted to go there toordquo

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Crowning gloryAidan with MarinShakespearersquosRobert Currier

created Itrsquos helpful to know the facts of thesituation in order to gain insight into whathas been changed in Shakespearersquos versionof events

ldquoI met with a friend of mine who is a

retired surgeon who walked me through themedical information that has come to lighton Richardrsquos body and I will certainly usethat to inform my physical choicesrdquo Unlike many actors yoursquore the right

age to play the historical Richard III

Do you feel Richardrsquos relative youth

has been overlooked

ldquoI do Richard is a young man who believeshe is hardened by the experiences he andhis family endured during the War of theRoses and believes himself to be beyondhuman emotions and the lsquorestrictionsrsquo of aconscience He isnrsquot He pays the bill for thehorrible things he does That lack of self-knowledge is not exclusive to youth but I feelit makes him more sympathetic and relatableto an audiencerdquo Some people think Richard III shows

Shakespeare delivering a highly

effective piece of Tudor propaganda

Where do you stand on thatldquoI think Shakespeare has a soft spot foroutsiders and underdogs Although his playssometimes work within the confines of thebiases of Elizabethan society he canrsquot help butmake his lsquovillainsrsquo fascinating human beings

For as horrible as Richard is itrsquos amazing tosee how audiences relate and respond to himrdquo Which other important themes do

you feel Shakespeare deals with in

the playldquoThe history plays are full of extraordinarypeople who waste their lives and intelligence who sacrifice their humanity in pursuit of thecrown Itrsquos still happening today What is theattraction of power Richard never pauses tothink of why he wants the crown or if hersquodbe any good as king Turns out hersquos not butitrsquos this bizarre obsession with control thatpropels him to kill everyone off thatrsquos in his way Itrsquos also fascinating that the one characterthat is consistently kind to Richard is hisfather York

ldquoI think an argument can be made thatRichard in his warped way is trying to liveup to the image he has of his father Ofcourse York is dead and gone by the timeRichard III begins but you can glean a lotabout Richardrsquos inner workings in the way hespeaks about his father Of course itrsquos foolishto try to answer questions that Shakespearedoesnrsquot and Irsquom not trying to say this solvesa mystery but I think itrsquos interesting Itrsquos only

an element itrsquos not the answerrdquo Richard III is listed as a historical

play in the First Folio but in the

quarto edition it is termed a tragedy

Which category would you put the

play in and why

ldquoI think of the history plays from Richard II to Richard III as one vast play an epic thatencompasses all the categories I think if youlook at Richardrsquos progression through those

plays you see a great mind warped by the War of the Roses and that certainly adds tothe tragic element I think of Richard III asthe final chapter of a great epicrdquo

Aidan OrsquoReilly stars in Marin ShakespeareCompanyrsquos Richard III from 4-27 September

Aidan OrsquoReilly

SHAKESPEARE magazine 37

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Scotland Shakes

SHAKESPEARE magazine 39

Bonnie Prince

Brian Fergusonas Hamlet in theCitizens Theatre

production Photoby Tim Morozzo

Billy William Shakespeare is undoubtedly Englandrsquos

Bard But how is he viewed north of the border

Our Caledonian correspondent surveys the state

of Shakespeare in Scotland and meets esteemed

outdoor theatre company Bard in the Botanics

Words Paul F Cockburn

T owards the end of May thisyear a BBC Scotland afternoon

news bulletin surprisinglyturned its attention to aforthcoming production of

ldquoone of William Shakespearersquos best lovedplaysrdquo ndash A Midsummer Nightrsquos DreamHowever this particular production wasnrsquotconsidered newsworthy because it came froman amateur group based in Dumfries andGalloway Not even that the CrossmichaelDrama Club were one of just seven amateurScottish groups taking part in the Royal

Shakespeare Companyrsquos Open Stages project which aims to help amateur companies

extend their repertoiresNo the lsquohookrsquo was how this newproduction was Shakespeare ldquobut no asyou micht ken itrdquo Because it had beenreimagined in Scots as A MidsimmerNichtrsquos Dreme

As it happens writer John Burns saysthat his principle reason for translating AMidsimmer Nichtrsquos Dreme was simply theintuition that it being in Scots would workto the benefit of the production ldquoItrsquos not

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Scotland Shakes

40 SHAKESPEARE magazine

so much that 16th century English canrsquot docertain things more that using Scots brings itcloser to a Scottish audience and to audiences who might think Shakespeare too fancyrdquo hesays ldquoI feel too that Scots can catch the sheerphysical power of Shakespearersquos language He writes lines you really feel physically when

you say them out loud My intention was touse Scots to produce a text that was actableand which would be accessible and enjoyablefor the audience and the Scots was a majorpart of thatrdquo

Arguably translating Shakespeare intoScots ndash viewed by many as a distinct languagefrom English ndash is just one way of finding thecontinued relevancies of Shakespearersquos writing with the here and now Certainly John Burns was keen to see if Scots ldquocould match the way

Shakespeare switches tonehellip from broad attimes bawdy humour to moments that aremore serious or even sinisterrdquo

Yet there is a wider perspective whether wersquore discussing translation into Scots orsaying Shakespearersquos words with a Scottishaccent Willy Maley and Andrew Murphyin their introduction to Shakespeare andScotland (published by Manchester UniversityPress in 2004) go as far as describing thetranslation of Shakespearersquos Macbeth into

Scots as ldquoa patriotic actrdquo not least becauseof ldquothe political commitment implicit intranslating from English to Scots reversing

the dominant dubbing practice infi

lmsrdquoGlasgow-based novelist and playwright Alan Bissett ndash who actively campaigned fora Yes vote during last yearrsquos IndependenceReferendum ndash has since written about howsince the 1970s Scottish theatre had ldquoadeep engagement with the shifting beastof Scottish politicsrdquo Although Bissett wasfocusing primarily on original works byScottish playwrights and directors itrsquos worthpointing out that Shakespeare ndash despite therebeing absolutely no evidence to prove he evertravelled north of Carlisle ndash has played hisown part in this

As Maley and Murphy point outldquoScotlandhellip never had precisely the samerelationship with the Bard as England hasbut has experienced a fraught process ofappropriation incorporation and resistancerdquoIn part this is because Shakespeare ndash in hislatter career ndash was among the first lsquoBritishrsquo writers Many of his later plays ndash Cymbeline King Lear even Hamlet ndash were produced

A tartan-cladAntipholus andDromio in Bard inthe Botanicsrsquo TheComedy of Errors

Brian FergusonrsquosHamlet CitizensTheatre productionPhoto by TimMorozzo

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under the patronage of Scotlandrsquos King JamesVI (aka James I of England) Each in theirown way can be said to touch on ldquothe matterof Britainrdquo the complex relationship between

the constituent elements of Jamesrsquos newlsquounitedrsquo kingdom which the Stuart monarch was determined to see joined into oneat never quite happened of course

Even after the 1707 Act of UnionScotland retained its own legal educationaland religious systems along with anaccompanying sense of Scottish identity ndash which survived even the height of the Britishempire Yet from the 1970s on there havebeen notable changes in how Shakespeareis treated by Scotlandrsquos producing theatrecompanies Several years ago GlasgowrsquosCitizenseatre delivered a powerful Romeoand Juliet in part because of their decision toset the action in a present-day sectarian Westof Scotland ndash with accents to match

ldquoEnglish-accented Shakespeare carriesa specific resonance in Scotland one thatdirectors usually choose to avoidrdquo pointsout Mark Fisher a freelance journalist criticand author of the forthcoming book How toWrite Abouteatre

ldquoIrsquom not sure exactly when attitudesstarted to change but Irsquod say the argumentin favour of Scottish-accented productionshad been pretty much won by the 1990sBy that time companies such as Raindogand directors such as Hamish Glen hadbeen making a point of casting very Scottishproductions of Shakespearerdquo

One example of how things hadprogressed even by 1992 was the late KennyIrelandrsquos production of A Midsummer

Nightrsquos Dream his first as Artistic Directorat Edinburghrsquos Royal Lyceum ldquoHe castthe mechanicals with Scottish accents andeveryone else with English accentsrdquo MarkFisher explains ldquois I said in my review wasa fundamental error ndash or some such phrasee message it sent out was that people withScottish accents were foolish figures of fun whereas people with English accents wereserious figures of respect

ldquoIreland reacted furiously to my review

and made the case that he had based thecasting of the mechanicals around (the actor) Andy Gray who has a Scottish accent Inother words the meaning I inferred hadnot been deliberate I think itrsquos true to sayhowever that Ireland never cast a Shakespearelike that againrdquo

Gordon Barr is Artistic Director of

Glasgow-based Bard in the BotanicsScotlandrsquos only professional Shakespearecompany (see following pages)

ldquoWersquove never gone out of our way tomake Scottish versions of these texts norhave we gone out of our way to have classicaltraditional voicesrdquo he says ldquoMost of our coreactors have made their careers up here so wethink of them as Scottish actors

ldquoat is important to us to not overlylook outwards for the acting company As

much as possible we work with people who are based in Scotland Wersquore regularlyproducing Shakespeare here and we want tobe a part of the training to ensure that there isa range of strong classical actors hererdquo

Citizens Theatrewwwcitzcouk

Owen Whitehawas the Fool andDavid Hayman asLear in CitizensTheatrersquos King Lear Photo by TimMorozzo

Scotland Shakes

SHAKESPEARE magazine 41

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Bard in theBotanicsrsquo As You Like

It takes Rosalind andOrlando into theopen air

ldquoTouring is something that we have wanted to do foryears but was somethingthat we could not afford

to do without fundingrdquo says Gordon Barr Artistic Director of Scotlandrsquos only professionaloutdoor Shakespeare festival Bard in theBotanics If therersquos any irony attached tothe companyrsquos first major tour of Scotland which took place in early 2015 itrsquos that theperformances of their acclaimed Romeo and Juliet ndash featuring a cast of five ndash were playedexclusively indoors

ldquoNobody is touring classical theatre in

Scotland at the minute so itrsquos importantto usrdquo Barr adds ldquoOur work is so muchabout accessibility One of the joys of beingoutdoors is that people come to see the work who wouldnrsquot buy a ticket for a theatre Ifyou can bring a picnic sit out on the grass while watching the show it feels easier moreaccessible But people canrsquot come from Thursoto Glasgow for a night just to see a productionof Shakespeare They should be able to see itin Thurso So that is kind of where the urge totour came fromrdquo

Bard in the Botanics has presented outdoorShakespeare within the grounds of GlasgowrsquosBotanic Gardens since 2003 This yearrsquoslsquoUnlikely Wondersrsquo season presented newproductions of Loversquos Labourrsquos Lost The Merchant of Venice Richard II and A Midsummer Nightrsquos Dream in lsquoreprsquo between24 June and 1 August

The companyrsquos founder Scott PalmerBarr explains had done a lot of his training atthe Oregon Shakespeare Festival one of the

biggest in North America ldquoWith the kindof drive and enthusiasm that only Americanshave he managed to convince the entire cityof Glasgow that outdoor Shakespeare would work and that the weather wasnrsquot going to be

a problemrdquoTwo years later Palmer moved on and Barr

ndash originally involved as a director ndash succeededhim as Artistic Director ldquoIf anyone then hadsaid that I would end up spending 12 yearsrunning an outdoor Shakespeare festival I wouldnrsquot have believed themrdquo he says in hisoffice hidden behind some of the Botanicsrsquogardening sheds ldquoI very quickly fell in love with it once I started working here Despiteall the trials and tribulations that outdoortheatre in Scotland brings with it therersquos just

something magical and special about it Itrsquos a very close-knit company and thatrsquos sort of keptus all here as long as we have beenrdquo

While the annual summer season ofShakespeare plays in the Botanics will remainat the centre of what the company does ndashldquoOtherwise Bard in the Botanics becomesa rather strange namerdquo ndash Barr is very much

Outof theGarden

This year has seen Glasgowrsquos Bard in the Botanicsdo something completely unexpected They wentout on a tour of ndash whisper it ndash indoor venueshellip

Scotland Shakes

42 SHAKESPEARE magazine

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Scotland Shakes

SHAKESPEARE magazine 43

focused on building on the touring side ldquoBecause it was our first ever tour we

did end up taking Romeo and Juliet to theestablished Scottish touring circuitrdquo he addsldquoIt takes a while to build up relationships with the smaller venues thatrsquos going to bean ongoing process for us Even so we weretaking Romeo and Juliet to places like Mulland Stranraer ndash communities and venues thathavenrsquot had a lot of classical theatre comingthrough themrdquo

The choice of play was deliberate too ldquoIt was a production that was ready to go whichhad received five star reviews and sold out itsextended run in the Botanics in 2012 So weknew that the work was good but therersquos nodoubt that for a first tour we wanted to makeit easier for the venues to sell it Most venuesknow they can find an audience for Romeo and Juliet rdquo

In time he hopes that audiences aroundthe rest of Scotland will come to trust the Bardin the Botanics name sufficiently to take on theless familiar plays

ldquoYou just donrsquot know how quickly acommunity is going to turn out for Henry IV yetrdquo he says ldquoHopefully three or four toursdown the line theyrsquore going to turn out forBard in the Botanics ndash and if it happens to be

Henry IV well thatrsquos greatrdquoGiven their reimagining of A MidsummerNightrsquos Dream as a 1920s burlesque musicalis there a particular Bard in the Botanicsapproach to Shakespeare

ldquoOur kind of unofficial motto is lsquoBe BoldBe Braversquordquo Barr says ldquoIf wersquore continuingto stage these plays around 400 years afterShakespearersquos death I think therersquos an urgencyto ask lsquoWhyrsquo It is important to questionlsquoWhat is the story that we want to tellrsquo I wantto see how these plays intersect with historyand todayrsquos society not to present museumpieces

ldquoItrsquos always with an eye to try to releasesomething thatrsquos within the textrdquo Barrinsists ldquoWersquore not remotely interested ininnovation for innovationrsquos sake The playsare masterpieces thatrsquos essentially why wersquorestill doing them 400 years later But to revealsomething thatrsquos unexpected or new thatrsquosimportant to usrdquo

Bard in the Botanics

wwwbardinthebotanicscouk

Rosalind and Audreyin the forest Bardin the Botanicsrsquo As You Like It

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Shakespeare at the Tobacco Factory stf 2016 Seasonco-production with Tobacco Factory Theatres

HAMLETBy William Shakespeare

Directed by Andrew Hilton

Main run Thu 11 February ndash Sat 26 March 2016

In repertoire with Allrsquos Well That Ends WellMon 25 ndash Wed 27 April Sat 30 April 2016

The most famous play in world drama Hamlet

turns a new face to every decade So many

elements - political madness sex murder ndash all

brought together in a drama that is both a thriller

and the profoundest meditation on our human

condition

ldquoThrilling workrdquo The Guardian on Romeo amp Juliet

ldquoBullseyerdquo WhatsOnStage on Romeo amp Juliet

Shakespeare at the Tobacco Factory Friends Priority Booking opens Wed 23 September 10am

wwwstf-theatreorguk

Tobacco Factory Theatres Members Priority Booking opens Wed 16 September 10am

wwwtobaccofactorytheatrescom

Public Booking opens Wed 30 September 10am

Tobacco Factory Box Office 0117 902 0344

ALLrsquoS WELL THAT ENDS WELLBy William Shakespeare

Directed by Andrew Hilton

Main run Thu 31 March ndash Sat 23 April 2016

In repertoire with Hamlet

Thu 28 ndash Fri 29 April Sat 30 April

A young woman using skills bequeathed herby her father saves the French Kingrsquos life and

is rewarded with the right to choose her own

husband But what if the chosen one wonrsquot play

the game How can she get him into bed How

can she make him love her

ldquo There is something approaching real

magic hererdquo The Arts Desk on The School for Scandal

P h o t o s M

a r k D o u e t

Dorothea MyerBennett in Richard III

Benjamin Whitrowand Julia Hills in The

School For Scandal

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Having conquered

Hollywood and vanquished

the global entertainment

industry video games now

on our culture So where

does the Bard stand in all of

this We sent a Shakespeare

scholar to investigatehellip

Words Andrew Bretz

Shakespeare video games

46 SHAKESPEARE magazine

T eGamersquos A oot Silent Hill is one

big-name gamewhich includesShakespearereferences

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Shakespeare video games

SHAKESPEARE magazine 47

German cardboard Macbeth datingfrom the early1800s

Hamlet reimaginedRyan Northrsquos To Be

Or Not To Be

W

hen you walk intothe wood panelled Victorian Gothicismof the Gail Kern Paster

Reading Room at theFolger Shakespeare Library in WashingtonDC video games are probably the lastthing on your mind Buried deep withinthe archives however are a set of fragilecardboard figures printed in Germany in theearly 1800s representing each of the maincharacters of Macbeth

Nineteenth century German children would play with these figures on smallcardboard stages no bigger than a dollhouseey could replicate the story as it was toldin Shakespeare or use their imagination tochange the ending letting Lady Macbethsurvive and bringing Duncan back from thedead if they so chosee limits of the game were the limits of their imagination

Today the lsquogamificationrsquo of Shakespeareis a big business from Ryan Northrsquos choose-your-own-adventure edition of Hamlet To Be Or Not To Be to IDW Gamesrsquosupcoming Kill Shakespeare board gamebased on the comic of the same name

Gamifying Shakespeare is filtering intoschools libraries and the theatrical worldas well with the University of California atDavis the Stratford Festival in Ontario theGlobeeatre in London and the LondonMetropolitan Archives all experimenting with video game elements in exhibits productionsand research

Why video games In a sense this is thelogical next step in the media development ofShakespeare Hersquos everywhere in other media

books movies merchandise But videogamese answer for that depends on whoyou ask

StorytellingOccasionally individuals or publishinghouses develop video games that try to tellthe story of say Hamlet yet this is relativelyrare One example would be Elsinore a time-looping narrative adventure game set in the world of the play Players play the game as

Ophelia who wakes up knowing that in fourdays the entire court will be dead and shemust do something to stop ite problemis that she is stuck in a time loop reliving thesame four days over and over againat said Shakespearersquos presence in the

video game industry tends to be focused oncitation rather than adaptation of the playsat is video games for Xbox Playstationand other popular gaming systems often

just cite Shakespearersquos plays as a part of acommon cultural heritageese games donrsquotrestage say Hamlet but they quote the playIn these cases Shakespeare is used to establisha point of identification for the audience His writing tells the audience something aboutthe character or the situation

Given that audiences are supposedto be able to identify the quotations asShakespearean it is unsurprising that Hamlet is the most popular text for game designers to

cite Ine Elder Scrolls Online for instancea merchant NPC (non-player character)quotes Polonius when players interact sayingldquoNeither a borrower nor a lender berdquoe words establish the NPCrsquos role as a merchant while fitting the medieval world of thegame In the game LA Noire upon pickingup a fake shrunken head at a crime scene adetective leaps into high melodrama withldquoAlas poor Yorick I knew him Horatiordquoequotation and the clever voice acting establish

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Shakespeare video games

48 SHAKESPEARE magazine

the characterrsquos strait-laced yet macabre senseof humour

Sometimes citing Shakespeare is a partof a critique of a larger theme In the game Mass E ff ect the Elcor are a race of elephantinealiens who preface all statements with adescription of the emotion they are feelingand who speak in a slow monotonous drone As players interact with the expansive worldthey can discover a number of advertisementsfor an all-Elcor Hamlet e idea of theElcor actor ndash the ultimate in a flat woodenperformer ndash having to preface ldquoTo be or not

to berdquo with ldquomorose ruminationrdquo goes beyondthe simple humour of a bad Shakespeareperformance It subtly asks what it is aboutacting (and especially voice acting) that isvaluable

Shakespeare can appear in video gamesnot merely as a marker or contextualisationtool but as a part of a puzzle For example inthe game Silent Hill 3 players must arrange aset of Shakespeare anthologies on a bookshelfin an abandoned shopping mall in order to

proceed in the game At the hardest levelthe puzzle clue takes the form of a poemthat references all the major tragedies Romeoand Juliet King Lear Macbeth Othello andof course Hamlet e bloody nature of thetragedies fits with the bloody nature of theSilent Hill series of games which fall into thesurvival horror genre

Popular video games have also servedas the inspiration for games that engage with Shakespeare in a more direct way For

example Daniel Fischlin at the Universityof Guelph in Ontario Canada led a teamthat created a Flash game called rsquoSpeare Itrsquos

a scrolling arcade-style game suggesting thersquo80s hit Galaga which sees players identifyingand navigating through a series of enemies who turn into words upon being destroyede player progresses through the levelsby collecting the correct words to createShakespearean quotes learning Shakespeareantrivia along the way

ImmersionOne of the most exciting aspects of videogames is the ability to immerse the player inthe world of the game in a way that othermedia simply cannot do Being able to walkaround Prosperorsquos cell Julietrsquos balcony orto stand before the ghost of Hamletrsquos fatheras he cries out ldquoList list O listrdquo ndash theseexperiences are made possible through videogame technology

Students of Scenic Arts at the Universityof Hildesheim in Germany created Projekt ARIEL or SturmMOD in 2008 using a lsquomodrsquo(or modification) to the engine that runs

the game Far Cry 1 e performance artproject allowed users to experience Prosperorsquosisland interacting with certain parts andexploring others Players could walk aroundan imaginative rendition of Prosperorsquos cell and witness or interact with elements of the playincluding diff erent characters like CalibanProspero and Miranda

Four days to savethe Danish court

Elsinore

Another Hamlet reference this timein LA Noire

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Shakespeare video games

SHAKESPEARE magazine 49

Gina Bloom at the University of Californiaat Davis is presently spearheading a projectthat will be demonstrated in the lobby of theStratford Festival theatre in Ontario Canadathis summere project Play the Knave AShakespeare Performance Videogame lets usersdesign a virtual performance space and thenperform a scene from a Shakespeare playinhabiting this constructed space with anavatar As a Davis insider explains ldquoWe use akinect motion capture camera to capture theuserrsquos skeletal data so that players use theirentire bodies to control their avatarrsquos gesturesonscreen all the while reciting the lines from

Shakespearersquos scenerdquo is literally immersesthe players in the scene

Shakespearersquos Globe eatre in Londontook another tactic regarding immersionin the production of the game HemmingsrsquoPlay Company Hosted on the Playgroundportion of the Globersquos website and thusaimed at an audience of children the gamehas players taking on the role of Hemmingsan Elizabethan bear who leads a troupe oftheatrical animals such as Kit the Cat Dekker

the Dog and Slye the Foxe turn-based game leads players through

the vagaries of Elizabethan theatre practicefrom patronage to lost props and the plagueBy the end of the game players must earnenough money to rebuild the Globe after itburns down during a performance of HenryVIII

Also from Shakespearersquos Globe are twoinnovative video experiences created forchildren aged five to 11 e first Exploring

Shakespeare features two boys on a tour ofthe Globe theatre who sneak off to explorebackstage e video illustrates four plays

using short animations that are keyedto things the boys find backstage etechnology combines live action film andanimation to create an interactive touchablegame Filled with mini-games quizzes andinteresting facts about Shakespeare the gameallows players to click through the narrativeor to stop and learn more as they go along

e second video called Staging It usesthe same technology as the first film but thistime is for the 11-16 age group In this gamee Globe has filmed two actors performingfamous duologues from A MidsummerNightrsquos Dream and Macbeth on the Globestage Rather than shoot it once the actorshave performed their lines in diff erent ways(happy flirtatious defensive and so on)creating several diff erent clips per linePlayers can watch each of the clips and addtheir choice to a dynamic storyboard tobuild up their final scene Impressively theplatform allows for up to 1000000 diff erentcombinations of clips

Apps and Mini-GamesItrsquos when you start to look outside of therealm of popular video game platformslike Xbox or Playstation that Shakespeare

Silent Hill 3 Brush upyour Shakespeare ifyou want to survive

Hemmingsrsquo PlayCompany fromShakespearersquosGlobe

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Shakespeare video games

50 SHAKESPEARE magazine

really starts to pop up wherever you looke ubiquity of Shakespeare is especiallynoticeable when you start to look at apps andmini-games designed for phones and tablets

In 2012 Big Fish Games released aniPhone and iPad game called Hamlet that featured all the main characters ofShakespearersquos play but transposed them intoa save-the-princess narrative puzzle game A time traveller lands in Denmark andaccidentally kills Hamlet and so players mustcomplete his journey for him saving Opheliaand killing Claudiuse Shakespeareancontent is minimal and heavily adapted andyet it fits with the puzzle format in whichShakespeare tends to be found in videogamese Chronicles of Shakespeare Romeo amp

Juliet ande Chronicles of Shakespeare A Midsummer Nightrsquos Dream are lusciously-illustrated puzzle games for the PC In themplayers act as one of the characters from theplays gathering items and clues through aShakespearean environment

Among the literally thousands of appsrelated to Shakespeare that can be found forthe iPad or Android tablet are

e Shakespearean Insult Creator which generates invectives drawn from a wholly Shakespearean vocabulary So nexttime you want to call someone a jerk trysomething more like ldquoou fusty follyfallenfustilarianrdquo

e Shakespeare Translator whichtranslates ldquonormal English words and phrasesinto the words of Shakespeare himselfrdquo

e Shakespeare Fortune Cookie which provides short quotes from the plays

and a small trivia game Shakespeare or Die a game that

scrambles the words of famous quotationsfrom the plays and asks you to identify theplay and character who spoke the line If youmake a mistake however beware the witchesese apps are either explicitly games or

they are coming out of a game-like impulse tomake Shakespeare more accessible to everyone with an internet connection

Brave New WorldsIn a world where Shakespeare is an industrycounted in the millions of dollars per yearit is so easy to forget that Shakespearersquos playsare just that ndash playsere is a sense of joyand fun and happiness embedded in theexperience of watching them Games are oneof the ways that people over the centuries

have tried to recapture that elusive sense ofplayfulness within Shakespeare So it makesperfect sense that now with the advent ofdigital technologies Shakespeare is movinginto the digital world with a vengeance

From big studio games likee ElderScrolls to small apps that can be downloadedfor free from talking bears to immersiveperformance experiences Shakespeare iseverywhere in video games Rather than beingan undiscovered country into which the Bard

is only just beginning to emerge games havein fact engaged with Shakespeare and his works for hundreds of years And they willprobably continue to do so for hundreds ofyears to come

rsquoSpeare is a scrollingarcade-stylegame with addedShakespeare trivia

Hamlet is aShakespeare-themed puzzle fromBig Fish Games

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Meet thy makers

Helen Mears fell into bardolatryduring her teenage years and has

never recovered She is a volunteersteward at Shakespearersquos Globe

which ensures a regular diet of theBard She teaches English Film andMedia at Suffolk New College and isa specialist in teaching Shakespeareusing active methods Her favouriteShakespearean actor is Jamie Parker

and her favourite plays are the SecondHistory Tetralogy She hopes to

finish her Masters in the AdvancedTeaching of Shakespeare very soonFind her on Twitter hipster_hels

Paul F Cockburn is an Edinburgh-based freelance magazine journalist who specialises in writing about

arts and culture equality issues andpopular science Hersquos sufficiently

grey-haired for his English Literaturetraining to have sort of overlapped

with The BBC Television Shakespeareproject saving at least some of the

plays from death by academiaFind him on Twitter paulfcockburn

Jen Richardson first fell in love withShakespeare as a 15-year-old schoolgirl

ldquoHe got under my skin and hersquos still theretodayrdquo After training with a Manchester-based drama tutor she went on to pursuean acting career Drama remains a greatinterest but her focus is now on sharing

her passion for Shakespeare throughher writing In her spare time Jen is

generally down in Stratford-upon-Avonsitting on her favourite bench behind

Holy Trinity ChurchFind her on Twitter The_JenJen

Andrew Bretz is a sessional instructorof English Literature and Drama

specialising in early modern dramaHe has taught at Wilfrid LaurierUniversity the University of Guelph

Brock University and McMasterUniversity For the past two years he

has taught a special summer intensiveat Ontariorsquos Stratford Festival His PhDdissertation was on the representationof sexual violence on the early modern

stage Find him on TwitterAndrewBretz001

Just some of the contributors to this issue of Shakespeare Magazine

Rosalind Lyons is a painter whohas exhibited widely in both mixedand solo shows with work in UK

and international private collections A life-long love of Shakespeare isreflected in many of her paintings

and a particular recent focus isShakespearersquos Globe theatre where shespent a period as artist-in-residenceShe is currently studying for a PhD

in Painting and ShakespeareanTheatre at Anglia Ruskin University

in CambridgeFind her on Twitter roslyons

52 SHAKESPEARE magazine

Contributors

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Page 18: Shakespeare Magazine 08

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Even more than London there

is one place above all that is

green and pleasant landhellip

Words Helen Mears

Pictures Helen Mears and Susan Braund

Stratford-upon-Avon

SHAKESPEARE magazine 19

W e could be in any smallpicturesque Englishtown with its medievalchurch half-timberedTudor buildings shops

restaurants and delightful riverside walksBut Stratford-upon-Avon is not just any

town Itrsquos one of the best-known most- visited and probably most-loved locations inEngland Thatrsquos because itrsquos the birthplace of William Shakespeare Itrsquos also the place heseems to have considered his home After allShakespeare grew up there went to schoolthere and spent his final days there

So here is Shakespeare Magazinersquos on-the-ground guide to Stratford-upon-Avon Hereyoursquoll find hints and tips for first-time visitorsand returning aficionados alike What to see

the best ways to see it where to stay where toeat and how to get around while yoursquore there Are you ready Then letrsquos start our tourhellip

The BirthplaceSurely the must-visit spot for any self-respecting Bardolator this is where it all beganndash the six-roomed Merchantrsquos House on HenleyStreet where in April 1564 Mary Shakespeare wife of glover John gave birth to their famousson Williame house is approached

HOME

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20 SHAKESPEARE magazine

through the Shakespeare Centre on the left-hand side of the Birthplace A short exhibitionshows you items such as a prized First Folioand the foot of Stratfordrsquos Old Market Cross

from where glover John Shakespeare wouldhave sold his wares A walk through the gardens leads to

the house itself You enter through theself-contained annexe where William and Anne Shakespeare spent the first years oftheir married life and where their childrenSusannah Judith and Hamnet were born eannexe was later occupied by Williamrsquos sister Joan You can walk through the parlour andthe dining room to Johnrsquos workshop where heproduced gloves and other leather goods

A staircase leads to two bedrooms onefor the girls one for the boys and a loft spaceis visible where the apprentices would haveslept Finally you reach the birth room themain bedroom in which William and his sevensiblings were born

Guides are on-hand in all rooms to tell youtheir history and other gems of informationComplete your visit by watching classicShakespearean speeches performed in thegarden by resident acting troupe Shakespeare

Aloud and then picking up some souvenirs inthe gift shop and excellent bookshop

e five house ticket is the best value givingyou entry to all of the properties (HarvardHouse is a current alternative to New Place)and allowing you to view Shakespearersquos Gravein Holy Trinity Church

The Avon and Boat trips A walk along the Avon is a must in any seasone gentle stroll from the RSC to Holy Trinity

Church will take you past drooping willowssmoothly sailing swans and green parklandFor a diff erent perspective on the town you cantake a boat trip along the river itself Startingfrom near the RSCeatre you cruise gentlydown to the church where Shakespeare wasbaptised and buried before turning back andheading past the theatre and under CloptonBridge Itrsquos a bridge that William himself would have known built as it was around1480 e Avon is very pretty everywhere

you look are the incredible tame (and alwayshungry) swans and picturesque houseboatse banks are lined with weeping willows that just might have been the inspiration for poorOpheliarsquos watery end in Hamlet If you wouldrather take a slower self-driven trip there arerowing boats canoes and small speedboatsfor hire Beware though these are not aseasy to control as they look and you may wellspend a good proportion of your allottedtime relearning how to row and avoiding

Stratford-upon-Avon

The birth roomat ShakespearersquosBirthplace

Molly fromShakespeare Aloudin the Birthplacegarden

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SHAKESPEARE magazine 21

other hapless river tra ffic Boat trips typicallylast for around 40 minutes and are especiallypleasant in the late afternoon when the sun setsslowly behind the church steeple For addedluxury you can take a restaurant cruise where

afternoon tea or an evening meal are served onboard or as a quicker cheaper alternative youcould take the chain ferry across the Avoneferry dates from 1937 and is the last of its kindin the UK

Nash House and New Place

As well as the Henley Street property theShakespeare Birthplace Trust care for fourother locations in and around Stratford allassociated with Williamrsquos family Nash House

and New Place were adjoining propertieseformer was the home of Judith Shakespeareand her husband while the latter was thefamily home that William purchased in 1597at the time the second most expensive housein the town Sadly it was demolished by asubsequent owner but the Trust are currentlyundertaking a massive renovation of the siteis means that the properties will not be opento the public until 2016 to coincide with the400th anniversary of Shakespearersquos death

Hallrsquos Croft

A brief walk from New Place will take youto Hallrsquos Croft the home of SusannahShakespeare and her husband the physician John Hallis is an interesting property in its

own right and is partly set up to show how apractising physician would have worked at thetime A special mention too must goe Arterthe award winning independent craft shopadjoining the building and to the beautifulgarden in which open air performances ofShakespearersquos plays are sometimes performed

Stratford-upon-Avon

Holy TrinityChurch viewedfrom the Avon

Nash House andNew Place

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22 SHAKESPEARE magazine

Anne Hathawayrsquos Cottage A short distance from Stratford is Shottery where you can find the beautiful cottage

which was the home of the Hathaway familySet in yet another lovely garden this is thehouse in which Anne Hathaway grew upand was courted by the young William JohnShakespeare served with Anne Hathawayrsquosfather on the town council so their childrenprobably knew each other from a young agee family remained associated with thecottage for several centuries and have spunmany a yarn about the young lovers theveracity of which are highly questionable

However the stone floor of the kitchen isoriginal and we know that William must have walked those stones many many times

Mary Ardenrsquos Farme last of the Shakespeare properties is Mary Ardenrsquos Farm Shakespearersquos mother lived hereand itrsquos where she probably took the infant William when plague broke out in Stratfordshortly after his birth Open from March toNovember only the farm is run as a working

Tudor farm with costumed guides caring forthe buildings and the animals Itrsquos a great placefor a family day out with plenty to see and doand numerous activities runningere are

daily falconry shows archery animals to feedand games to play You can even treat yourselfto a genuine Tudor meal in the cafe ndash pottageand home-baked breads are a speciality

What if you donrsquot have a care town itself is fairly small and all themain attractions are within walking distanceHowever the easiest way to get around and toenable a visit to Anne Hathawayrsquos Cottage andMary Ardenrsquos farm is to the Hop On-Hop Off City Sightseeing busis will take you to allthe main town locations and also to Shotteryand Wilmcote A day ticket will give youunlimited access to the buses and allow you tovisit all of the Shakespeare properties e buscan be picked up by the statue of Touchstonethe jester at the top end of Henley Street

Walking Tours Another excellent way to see the main sites ofStratford and to learn some of the historicaltales of the town is to take a walking tour

Stratford-upon-Avon

Anne HathawayrsquosCottage

Mary Ardenrsquos Farm

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ere are several options depending on thetype of tour yoursquod likee town guides runhistorical tours of the town every day (yesevery day) of the year For those who like to be

a bit more daring there are evening ghost walksled by costumed guides who will tell you someof the spooky tales of Stratford Both of thesetours start from the Swan Water Fountain onthe riverside

Or if you like the idea of being guidedby Shakespeare himself on a Saturday (andMonday to Saturday through the summerholidays) there are town walks led by the manhimself (or someone who looks an awful lotlike him)ese run from Tudor World onSheep Street an interesting museum in thehouse that belonged to the man who wasallegedly the model for Sir John Falsta ff

Holy Trinity Church Another must-see is the townrsquos 13th centurychurch with its distinctive spire that dominatesthe view from the river Remember that if youhave a ticket to the Birthplace properties yourvisit to the grave is free e church is famousfor being where William Shakespeare wasbaptised on 26 April 1564 e old font that

was used for the baptism is displayed in thechancel along with copies of both the registerof baptism for April 1564 and the register ofburials for April 1616 where Shakespearersquosname can be clearly seen Also in the chancelin front of the altar are the Shakespeare familygraves Williamrsquos bears its infamous curse

ldquoGOOD FRIEND FOR JESUSSAKE FOREBEAR

TO DIGG THE DVST

ENCLOSED HEREBLESTE BE YE MAN YT SPARESTHESE STONES

AND CURSED BE HE YT MOVESMY BONESrdquo

On the wall above the grave is the effigy of

Shakespeare Itrsquos one of the few images which was produced within the lifetime of AnneShakespeare and probably one of the mostauthentic likenesses of her husband

The Guildhall and King EdwardrsquosSchoolDirectly opposite the site of New Place standthe Guildhall and the townrsquos old grammarschool Both of these places have links to theShakespeare family King Edwardrsquos Schoolis where the young William is believed tohave studied and itrsquos probably where hefirst encountered the classical texts which soinspired him As the son of a town councillorhe would have been entitled to a placee

old school is sometimes open to visitors at weekends or during the holidays but theschool has just won a lottery grant whichshould enable them to open it as a permanentattraction e Guildhall was sometimes hostto groups of travelling players and so it couldbe the site where young William first sawtheatrical performances It is widely believedthat John Shakespeare owing to his role astown bailiff was responsible for supervising the whitewashing of the medieval Doom Painting

Stratford-upon-Avon

SHAKESPEARE magazine 23

The GuildhallDoom Painting

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24 SHAKESPEARE magazine

Stratford-upon-Avon

is has been recovered and is now once againvisible above the chancel arch

The Royal Shakespeare CompanyTheatre and the riversidee riverside park is home to several interestingsights It is from here that you can get a view ofthe Clopton Bridge pick up a river cruise feedthe swans and admire the Gower Memoriale memorial was presented to the town in1888 and features a statue of Shakespeareseated upon a plinth overlooking statues offour of his best known charactersese areHamlet Prince Hal Sir John Falsta ff and Lady

Macbeth who represent Comedy HistoryPhilosophy and Tragedy Closer to the theatreis the beautiful Swan Water Fountain unveiledin 1996 If you see the water frothing fear notit seems to be a sport amongst local youngstersto fill the fountain with washing up liquid on aregular basis

e Royal Shakespeare Companyeatre was built in 1932 but has recently undergonea complete refurbishment in both the mainand the Swan theatres e building reopened

in 2010 with both theatres having beenconverted to boast thrust stages and curvedgalleries similar in shape to the originalElizabethan playhousese world renowned

Royal Shakespeare Company performshere throughout the year staging plays byShakespeare and his contemporaries as well asby newer authors ey also run an educationprogramme exhibitions family activitiesduring the school holidays and theatre toursTo see Stratford from an entirely diff erentangle take the lift up the 36 metre high towerfor spectacular views across the town

Where to eat and drinkStratford has an excellent range of eateriesto suit all tastes and budgets ere is pubgrub afternoon teas world cuisine finedining pizza pasta and fish and chips Manyrestaurants off er pre-theatre menus and ifyoursquove been on a town walk you may find thatyou can get discount vouchers for your foodere are many pubs in Stratford including theGarrick Inn the oldest pub in the town whereyou can taste the Shakesbeer specially brewedto celebrate Shakespearersquos 450th Birthday in2014 If you want to spot RSC cast members

relaxing after their showse Dirty Duck on Waterside is the place to drink

Where to stay Again Stratford-upon-Avon has a good varietyof hotels bed and breakfasts and holidayhomes All the main chains have hotels inthe town from budget brands to the luxurynamesere is an excellent choice of bedand breakfast establishments in and aroundthe town again these will suit all tastes and

budgets Airbnb also has an interesting rangeof rooms flats and houses to rent in StratfordHowever be sure to book early especially forthe prime summer months

The Shakespeare Birthplace Trustwwwshakespeareorguk

The GowerMemorial Will andPrince Hal

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M

any places around the worldhave been named afterStratford-upon-Avon thebirthplace and home of William

Shakespeare And many of those Stratfordsare home to theatre festivals of varying sizesStratford in the state of Victoria in Australiahas an annual Shakespeare festival still goingevery year while Stratford in Connecticut inthe USA had a major theatre from the mid1950s to the mid 1980s Stratford Ontarioin Canada however stands out among thesetowns and festivals not merely in scope but ininternational reputation and prestige

In 1950 Canada had no home-growntradition of classical theatre Certainly

Shakespeare was performed but there hadbeen a strong anti-theatrical movement inCanada throughout the 19th century whoseeffects still lingered throughout the first half ofthe 20th As a cultural icon Shakespeare wasedifying to be sure but certainly not to beperformed The Stratford Festival changed allof that for Canada

In the late 1940s the local newspapers andgovernment of the town conceived of the ideaof revitalising Stratfordrsquos sagging economy by

capitalising on the name of the town and its

long association with the Bard They bandedtogether and under the leadership of TomPatterson they brought over Tyrone Guthrieand Alec Guinness for the first season in1953 Guthrie had famously directed Gielgud

inHamlet

at Elsinore Castle in Denmarkand had been the manager of the Old Vic inLondon He wanted to create an acting spacethat echoed the original Globe theatre whereactors were surrounded by the audience incontrast to the proscenium arch theatres thatdominated the London and New York scenes

From the first performance which tookplace inside a giant circus-style tent on thebanks of the Avon River the festival workedto create a new aesthetic of Shakespeareanperformance The thrust stage of the FestivalTheatre designed by Tanya Moiseiwitschhas been recognised as one of the greatinnovations in stage design of the 20th centuryGenerations of actors have had to learn howto address an audience on three sides of themsometimes only an armrsquos length away

The festival has been central to the careersof Canadian actors such as ChristopherPlummer Martha Henry and even WilliamShatner Actors from the US and UK havesought to play the festival as well including

Peter Ustinov Christopher Walken and JessicaTandy Indeed these international stars notonly lend credibility but have indelibly markedthe festival For instance Maggie Smithrsquosperformance as Rosalind in As You Like It inthe 1977 and 1978 seasons is legendary in thecompany and the town

Today the festival has expanded to includemultiple performance spaces a theatre schooluniversity accredited courses and the largesttheatrical costume shop in North America

It has started countless careers inspiredcompanies such as Torontorsquos SoulpepperTheatre and helped shape the Canadiantheatre landscape for over 50 years

Stratford Festival ndash Ontario Canada

wwwstratfordfestivalca

MEANWHILE

IN CANADATherersquos more than just one Stratford you knowAnd the one in Ontario Canada has a world-renownedShakespeare Festival gives us a tour

Stratford Ontario

SHAKESPEARE magazine 25

ldquoFrom the fi rst performancethe Festival worked tocreate a new aesthetic ofShakespearean performancerdquo

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Planning to performa short selection

from Shakespeare

The 30-Minute Shakespeare

Anthology contains 18 abridged

scenes including monologues from

18 of Shakespearersquos best-known plays

Every scene features interpretive stage

directions and detailed performance

and monologue notes all ldquoroad testedrdquo

at the Folger Shakespeare Libraryrsquos

annual Student Shakespeare Festival

THE 30-MINUTE SHAKESPEARE is an acclaimed series of abridgments that tell the story of each play while keeping the beauty ofShakespearersquos language intacte scenes and monologues in this anthology have been selected with both teachers and students inmind providing a complete toolkit for an unforgettable performance audition or competition

NICK NEWLIN has performed a comedy and variety act for international audiences for more than 30 years Since 1996 he hasconducted an annual teaching artist residency with the Folger Shakespeare Library in Washington DC

The 30-Minute Shakespeare series is available in print and ebook format at retailersand as downloadable PDFs from 30MinuteShakespearecom

The 30-Minute Shakespeare Anthology

includes one scene with monologue

from each of these plays

ldquoLays the groundwork for a truly fun and sometimes magical

experience guided by a sagacious knowledgeable and intuitive

educator Newlin is a staunch advocate for students learning

Shakespeare through performancerdquo mdashLibrary Journal

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Roaslind Lyons

28 SHAKESPEARE magazine

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For UK artist Rosalind Lyons the Bard is a

constant presence in her creative life She tells

us how Shakespeare inspired the haunting and

dreamlike works that adorn these pages

Words and paintings by Rosalind Lyons

Rosalind Lyons

SHAKESPEARE magazine 29

Left TheRoaring Boys

PAINTINGSHAKESPEARE

S hakespeare has long been at the heart ofmy work sometimes directly and obviouslyin the subjects and often in the titlesBut always Shakespearersquos words charactersand stories are there in my head when Iam painting ndash a perpetual conscious andunconscious presence

My style echoes that of the Renaissancepainters and Elizabethan portraits andthese influences combined with a life-long love of Shakespeare made my firstvisit to Shakespearersquos Globe pivotal Iexperienced a powerful sense of connectionand recognition Here suddenly ideasand themes with which I had been so longpreoccupied were brought to life

I subsequently gained access to theGlobe to draw and later spent some time

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as Artist in Residence thereat experienceprompted more in-depth exploration notonly of Shakespeare and painting but of therelationship between painting and theatreere are of course the strong visualconnections ndash both are spaces for spectacleand illusion But also compelling ideas oftransformation imagination storytelling andidentity And overall the theme of ambiguitye blurring of boundaries between realityand fiction male and female light andshadow past and present I am fascinated byhow we respond to history how we re-presentand re-imagine the past And the figures inmy paintings are imagined as belonging toboth now and then ndash flitting back and forthacross the threshold between past and presentbetween Shakespearersquos time and our own

modern worldI have painted some specific characters

from Shakespeare but many subjects ofmy paintings are anonymouse figuresare unknown their place purpose role is amysteryis anonymity is unsettlingereare clues in the setting in the costumes ndash orperhaps I should just say in the clothes theyare wearing ndash but the context is not obviousI am fascinated by the dramatic convention ofcross-dressing ndash and particularly the inherent

confusion as with Rosalind ( As You Like It )and Viola (Twelfth Night ) in the idea of aboy playing a girl playing a boy Many of thecharacters I invent are androgynous theirgender and age uncertainis ambiguityof identity interests me in the context ofvisual illusion and theatrical transformationthe idea of inbetween-ness and somethingunresolved

Like theatre my paintings are concerned with inventing characters and the creation

Right No MoreYielding But A

Dream

Roaslind Lyons

30 SHAKESPEARE magazine

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of an imaginary world and I am particularlyattracted to the fools fairies and witchesIn A Midsummer Nightrsquos Dream the fairiesrsquoactions may seem malevolent or benign or just mischievous but there is definitely a dark

side an underlying sense of threate Fool too is intriguing Shakespearersquosfools frequently describe themselvesor are referred to as a nobody but areunquestionably much moree fool is anoutsider concerned with but at the same timeseparate from the story He ndash or sometimesshe ndash doesnrsquot quite belong anywhere butseems to exist on the boundary between thefamiliar and the uncanny

I am attracted to the strange to mysteryand shadows and try to express through myimages a strong feeling that it could be thator maybe something else As Orsino says atthe conclusion of Twelfth Night ldquoA naturalperspective that is and is notrdquo While makinga painting and even when it is finished Idonrsquot know really who my characters are ndashthey remain elusive But I like not knowingand ultimately meanings always change anddepend on individual perceptions

My experience at the Globe led to aparticular fascination with the ambiguous and

protean quality of the theatrical performerhow their identity transforms and fluctuatesI was attracted by this when watching

Rosalind Lyons

SHAKESPEARE magazine 31

Above A MidwinterNightrsquos Dream

Right Three Fools

Far right FollowingDarkness

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rehearsals observing actors shift between selfand impersonation between diff erent realitiesand identities When they are not acting theyndash metaphorically and often literally ndash melt

into the shadows I am interested too in thephysical and symbolic threshold between lsquoonrsquoand lsquooff rsquo-stage the transformation inherentin an actor moving from the wings onto thestage assuming another self and anotheridentity Particularly evocative is the fact thatactors were colloquially known as shadowsin the Elizabethan playhouses ndash suggestingsomething unknowable and insubstantialIn the Prologue to Henry V Shakespeare hasthe Chorus describe the players as lsquociphersrsquoimplying deception and secrecy

Artists in the past who have tackledShakespeare have generally produced imagesthat directly illustrate the text or representfamous actors or scenes from a particularperformance Today as well as on the stageShakespearersquos plays are frequently re-imaginedin very successful film and TV adaptationsbut I have struggled to find more than ahandful of contemporary fine artists whohave engaged with Shakespeare on any levelPerhaps Shakespeare as a subject is seen

by some as too traditional too lsquopopularrsquoor simply just too lsquooldrsquo But in the theatreand in literature there is an ever-increasingenthusiasm for innovative interpretationsof the plays and for me Shakespeare is aconstant inspiration

e Prologue of Henry V also urges theaudience to ldquoPiece out our imperfections withyour thoughtsrdquo to liberate the imaginationand create another kind of reality to shapeour own fantasies within the ldquowooden Ordquo of

the theatre In my paintings I endeavour todo the same

Explore the work of Rosalind Lyons atwwwrosalindlyonscom

Above These Two CreaturesBelow Therersquos Magic In Thy Majesty

Roaslind Lyons

32 SHAKESPEARE magazine

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$amp( ) +-01

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Aidan OrsquoReilly

34 SHAKESPEARE magazine

Looking forRichard AidanOrsquoReilly is playingShakespearersquosbaddest monarch

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Aidan OrsquoReilly

SHAKESPEARE magazine 35

You are legally blind having been

diagnosed with retinoblastoma as an

infant How did this impact on your

acting aspirations and early career

ldquoMy parents did a good job raising me Inever grew up thinking of it as a handicap orthinking it could hold me back from what I wanted to do I couldnrsquot play sports at all soI think my parents were grateful that I hadsomething that I was passionate about from avery young age

ldquoI went to a public elementary school with a program designed for the blind so itfelt very natural for me to be the way that I was And acting has always been part of thatrdquo

You went to RADA in London Was

there a reason why you wanted to

train in England and not in the US

ldquoItrsquos always been an ambition of mine to

travel as far and wide as possible Also myhero growing up was Peter OrsquoToole ndash Iread his autobiography in high school andlearned he had gone to RADA and decided I wanted to go there too So I auditioned therenot knowing that RADA is arguably thebest drama school in the English-speaking world Consequently I was quite relaxed atthe audition which is probably why I gotin My ignorance can sometimes serve me well Going to RADA was a life-changing

Aidan OrsquoReilly is an actor with an

inspiring story Legally blind since he

was six months old he forged a passionfor drama at an early age Aidan went

on to gain a BA with honours from

Londonrsquos Royal Academy of Dramatic

Art before touring for three years with

the American Shakespeare Center

In 2012 Aidan was diagnosed with

sarcoma a rare cancer He bounced

back in 2014 after intensive treatment

and is now cancer-free We spoke to

Aidan as he prepared to play the title

role in Richard III for Californiarsquos Marin

Shakespeare Company We asked himto share his story and to give us his

take on one of Shakespearersquos most

fascinating characters

Interview by Jen Richardson

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Aidan OrsquoReilly

36 SHAKESPEARE magazine

experience I was lucky enough to havecontact with brilliant professors and Irsquom stillin awe of the students I went to school withI wouldnrsquot trade that experience for anythingrdquo After graduating from RADA you

went on the road with the American

Shakespeare Center Tell us a bit

about that

ldquoThat was one of the happiest times of mylife In many ways I got spoiled I was a working actor 11 months out of the yeartouring nationally seeing parts of the USI had never been to before doing plays Iloved and working with directors who werevehemently faithful and respectful to the text When I wasnrsquot on the road I was in residenceat the Blackfriars Playhouse in StauntonVirginia with many extraordinary actorsI was very lucky to be thererdquo

Three years ago you were diagnosed

with sarcoma How did you

overcome this enormous challenge

and return to the stage in 2014

ldquoThe only reason Irsquom still alive is because ofmy mother Lily and my wife Jocelynn AlsoI was fortunate that we caught it before it hadspread and it was on my leg and away fromany major organs

ldquoI am very grateful for my team of doctorsat UCSF who did an incredible job in mytreatment and follow-up care Irsquom glad to beback to workrdquo Yoursquore now due to play Richard III

with Marin Shakespeare Company

Howrsquos it going so far

ldquoAt this point Irsquom in the paperwork stage

of things A lot of reading the HenryVI s biographies of Richard as well asperformance history of the play itself Irsquomdoing a fair amount of limping around myapartment as well I canrsquot wait to get intorehearsals next weekrdquo Tell us about Marin Shakespeare

Company and what appealed to you

about working with them

ldquoRobert and Lesley [Currier MSCrsquos Artistic

Director and Managing Director] arefascinating people Their intelligence andhumour is contagious Without questionthere is a lot to be learned from themrdquo Richard IIIrsquos remains were discovered

in 2012 and reburied this year Is all

the new information about Richard

influencing your portrayal

ldquoYes and no My job isnrsquot to play the historicalRichard but the Richard that Shakespeare has

Aidan believesthat Richard IIIrsquosobsession withcontrol is whatcauses his downfall

ldquoPeter OrsquoToole wasmy hero He went to

RADA so I wanted to go there toordquo

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Crowning gloryAidan with MarinShakespearersquosRobert Currier

created Itrsquos helpful to know the facts of thesituation in order to gain insight into whathas been changed in Shakespearersquos versionof events

ldquoI met with a friend of mine who is a

retired surgeon who walked me through themedical information that has come to lighton Richardrsquos body and I will certainly usethat to inform my physical choicesrdquo Unlike many actors yoursquore the right

age to play the historical Richard III

Do you feel Richardrsquos relative youth

has been overlooked

ldquoI do Richard is a young man who believeshe is hardened by the experiences he andhis family endured during the War of theRoses and believes himself to be beyondhuman emotions and the lsquorestrictionsrsquo of aconscience He isnrsquot He pays the bill for thehorrible things he does That lack of self-knowledge is not exclusive to youth but I feelit makes him more sympathetic and relatableto an audiencerdquo Some people think Richard III shows

Shakespeare delivering a highly

effective piece of Tudor propaganda

Where do you stand on thatldquoI think Shakespeare has a soft spot foroutsiders and underdogs Although his playssometimes work within the confines of thebiases of Elizabethan society he canrsquot help butmake his lsquovillainsrsquo fascinating human beings

For as horrible as Richard is itrsquos amazing tosee how audiences relate and respond to himrdquo Which other important themes do

you feel Shakespeare deals with in

the playldquoThe history plays are full of extraordinarypeople who waste their lives and intelligence who sacrifice their humanity in pursuit of thecrown Itrsquos still happening today What is theattraction of power Richard never pauses tothink of why he wants the crown or if hersquodbe any good as king Turns out hersquos not butitrsquos this bizarre obsession with control thatpropels him to kill everyone off thatrsquos in his way Itrsquos also fascinating that the one characterthat is consistently kind to Richard is hisfather York

ldquoI think an argument can be made thatRichard in his warped way is trying to liveup to the image he has of his father Ofcourse York is dead and gone by the timeRichard III begins but you can glean a lotabout Richardrsquos inner workings in the way hespeaks about his father Of course itrsquos foolishto try to answer questions that Shakespearedoesnrsquot and Irsquom not trying to say this solvesa mystery but I think itrsquos interesting Itrsquos only

an element itrsquos not the answerrdquo Richard III is listed as a historical

play in the First Folio but in the

quarto edition it is termed a tragedy

Which category would you put the

play in and why

ldquoI think of the history plays from Richard II to Richard III as one vast play an epic thatencompasses all the categories I think if youlook at Richardrsquos progression through those

plays you see a great mind warped by the War of the Roses and that certainly adds tothe tragic element I think of Richard III asthe final chapter of a great epicrdquo

Aidan OrsquoReilly stars in Marin ShakespeareCompanyrsquos Richard III from 4-27 September

Aidan OrsquoReilly

SHAKESPEARE magazine 37

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Scotland Shakes

SHAKESPEARE magazine 39

Bonnie Prince

Brian Fergusonas Hamlet in theCitizens Theatre

production Photoby Tim Morozzo

Billy William Shakespeare is undoubtedly Englandrsquos

Bard But how is he viewed north of the border

Our Caledonian correspondent surveys the state

of Shakespeare in Scotland and meets esteemed

outdoor theatre company Bard in the Botanics

Words Paul F Cockburn

T owards the end of May thisyear a BBC Scotland afternoon

news bulletin surprisinglyturned its attention to aforthcoming production of

ldquoone of William Shakespearersquos best lovedplaysrdquo ndash A Midsummer Nightrsquos DreamHowever this particular production wasnrsquotconsidered newsworthy because it came froman amateur group based in Dumfries andGalloway Not even that the CrossmichaelDrama Club were one of just seven amateurScottish groups taking part in the Royal

Shakespeare Companyrsquos Open Stages project which aims to help amateur companies

extend their repertoiresNo the lsquohookrsquo was how this newproduction was Shakespeare ldquobut no asyou micht ken itrdquo Because it had beenreimagined in Scots as A MidsimmerNichtrsquos Dreme

As it happens writer John Burns saysthat his principle reason for translating AMidsimmer Nichtrsquos Dreme was simply theintuition that it being in Scots would workto the benefit of the production ldquoItrsquos not

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Scotland Shakes

40 SHAKESPEARE magazine

so much that 16th century English canrsquot docertain things more that using Scots brings itcloser to a Scottish audience and to audiences who might think Shakespeare too fancyrdquo hesays ldquoI feel too that Scots can catch the sheerphysical power of Shakespearersquos language He writes lines you really feel physically when

you say them out loud My intention was touse Scots to produce a text that was actableand which would be accessible and enjoyablefor the audience and the Scots was a majorpart of thatrdquo

Arguably translating Shakespeare intoScots ndash viewed by many as a distinct languagefrom English ndash is just one way of finding thecontinued relevancies of Shakespearersquos writing with the here and now Certainly John Burns was keen to see if Scots ldquocould match the way

Shakespeare switches tonehellip from broad attimes bawdy humour to moments that aremore serious or even sinisterrdquo

Yet there is a wider perspective whether wersquore discussing translation into Scots orsaying Shakespearersquos words with a Scottishaccent Willy Maley and Andrew Murphyin their introduction to Shakespeare andScotland (published by Manchester UniversityPress in 2004) go as far as describing thetranslation of Shakespearersquos Macbeth into

Scots as ldquoa patriotic actrdquo not least becauseof ldquothe political commitment implicit intranslating from English to Scots reversing

the dominant dubbing practice infi

lmsrdquoGlasgow-based novelist and playwright Alan Bissett ndash who actively campaigned fora Yes vote during last yearrsquos IndependenceReferendum ndash has since written about howsince the 1970s Scottish theatre had ldquoadeep engagement with the shifting beastof Scottish politicsrdquo Although Bissett wasfocusing primarily on original works byScottish playwrights and directors itrsquos worthpointing out that Shakespeare ndash despite therebeing absolutely no evidence to prove he evertravelled north of Carlisle ndash has played hisown part in this

As Maley and Murphy point outldquoScotlandhellip never had precisely the samerelationship with the Bard as England hasbut has experienced a fraught process ofappropriation incorporation and resistancerdquoIn part this is because Shakespeare ndash in hislatter career ndash was among the first lsquoBritishrsquo writers Many of his later plays ndash Cymbeline King Lear even Hamlet ndash were produced

A tartan-cladAntipholus andDromio in Bard inthe Botanicsrsquo TheComedy of Errors

Brian FergusonrsquosHamlet CitizensTheatre productionPhoto by TimMorozzo

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under the patronage of Scotlandrsquos King JamesVI (aka James I of England) Each in theirown way can be said to touch on ldquothe matterof Britainrdquo the complex relationship between

the constituent elements of Jamesrsquos newlsquounitedrsquo kingdom which the Stuart monarch was determined to see joined into oneat never quite happened of course

Even after the 1707 Act of UnionScotland retained its own legal educationaland religious systems along with anaccompanying sense of Scottish identity ndash which survived even the height of the Britishempire Yet from the 1970s on there havebeen notable changes in how Shakespeareis treated by Scotlandrsquos producing theatrecompanies Several years ago GlasgowrsquosCitizenseatre delivered a powerful Romeoand Juliet in part because of their decision toset the action in a present-day sectarian Westof Scotland ndash with accents to match

ldquoEnglish-accented Shakespeare carriesa specific resonance in Scotland one thatdirectors usually choose to avoidrdquo pointsout Mark Fisher a freelance journalist criticand author of the forthcoming book How toWrite Abouteatre

ldquoIrsquom not sure exactly when attitudesstarted to change but Irsquod say the argumentin favour of Scottish-accented productionshad been pretty much won by the 1990sBy that time companies such as Raindogand directors such as Hamish Glen hadbeen making a point of casting very Scottishproductions of Shakespearerdquo

One example of how things hadprogressed even by 1992 was the late KennyIrelandrsquos production of A Midsummer

Nightrsquos Dream his first as Artistic Directorat Edinburghrsquos Royal Lyceum ldquoHe castthe mechanicals with Scottish accents andeveryone else with English accentsrdquo MarkFisher explains ldquois I said in my review wasa fundamental error ndash or some such phrasee message it sent out was that people withScottish accents were foolish figures of fun whereas people with English accents wereserious figures of respect

ldquoIreland reacted furiously to my review

and made the case that he had based thecasting of the mechanicals around (the actor) Andy Gray who has a Scottish accent Inother words the meaning I inferred hadnot been deliberate I think itrsquos true to sayhowever that Ireland never cast a Shakespearelike that againrdquo

Gordon Barr is Artistic Director of

Glasgow-based Bard in the BotanicsScotlandrsquos only professional Shakespearecompany (see following pages)

ldquoWersquove never gone out of our way tomake Scottish versions of these texts norhave we gone out of our way to have classicaltraditional voicesrdquo he says ldquoMost of our coreactors have made their careers up here so wethink of them as Scottish actors

ldquoat is important to us to not overlylook outwards for the acting company As

much as possible we work with people who are based in Scotland Wersquore regularlyproducing Shakespeare here and we want tobe a part of the training to ensure that there isa range of strong classical actors hererdquo

Citizens Theatrewwwcitzcouk

Owen Whitehawas the Fool andDavid Hayman asLear in CitizensTheatrersquos King Lear Photo by TimMorozzo

Scotland Shakes

SHAKESPEARE magazine 41

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Bard in theBotanicsrsquo As You Like

It takes Rosalind andOrlando into theopen air

ldquoTouring is something that we have wanted to do foryears but was somethingthat we could not afford

to do without fundingrdquo says Gordon Barr Artistic Director of Scotlandrsquos only professionaloutdoor Shakespeare festival Bard in theBotanics If therersquos any irony attached tothe companyrsquos first major tour of Scotland which took place in early 2015 itrsquos that theperformances of their acclaimed Romeo and Juliet ndash featuring a cast of five ndash were playedexclusively indoors

ldquoNobody is touring classical theatre in

Scotland at the minute so itrsquos importantto usrdquo Barr adds ldquoOur work is so muchabout accessibility One of the joys of beingoutdoors is that people come to see the work who wouldnrsquot buy a ticket for a theatre Ifyou can bring a picnic sit out on the grass while watching the show it feels easier moreaccessible But people canrsquot come from Thursoto Glasgow for a night just to see a productionof Shakespeare They should be able to see itin Thurso So that is kind of where the urge totour came fromrdquo

Bard in the Botanics has presented outdoorShakespeare within the grounds of GlasgowrsquosBotanic Gardens since 2003 This yearrsquoslsquoUnlikely Wondersrsquo season presented newproductions of Loversquos Labourrsquos Lost The Merchant of Venice Richard II and A Midsummer Nightrsquos Dream in lsquoreprsquo between24 June and 1 August

The companyrsquos founder Scott PalmerBarr explains had done a lot of his training atthe Oregon Shakespeare Festival one of the

biggest in North America ldquoWith the kindof drive and enthusiasm that only Americanshave he managed to convince the entire cityof Glasgow that outdoor Shakespeare would work and that the weather wasnrsquot going to be

a problemrdquoTwo years later Palmer moved on and Barr

ndash originally involved as a director ndash succeededhim as Artistic Director ldquoIf anyone then hadsaid that I would end up spending 12 yearsrunning an outdoor Shakespeare festival I wouldnrsquot have believed themrdquo he says in hisoffice hidden behind some of the Botanicsrsquogardening sheds ldquoI very quickly fell in love with it once I started working here Despiteall the trials and tribulations that outdoortheatre in Scotland brings with it therersquos just

something magical and special about it Itrsquos a very close-knit company and thatrsquos sort of keptus all here as long as we have beenrdquo

While the annual summer season ofShakespeare plays in the Botanics will remainat the centre of what the company does ndashldquoOtherwise Bard in the Botanics becomesa rather strange namerdquo ndash Barr is very much

Outof theGarden

This year has seen Glasgowrsquos Bard in the Botanicsdo something completely unexpected They wentout on a tour of ndash whisper it ndash indoor venueshellip

Scotland Shakes

42 SHAKESPEARE magazine

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Scotland Shakes

SHAKESPEARE magazine 43

focused on building on the touring side ldquoBecause it was our first ever tour we

did end up taking Romeo and Juliet to theestablished Scottish touring circuitrdquo he addsldquoIt takes a while to build up relationships with the smaller venues thatrsquos going to bean ongoing process for us Even so we weretaking Romeo and Juliet to places like Mulland Stranraer ndash communities and venues thathavenrsquot had a lot of classical theatre comingthrough themrdquo

The choice of play was deliberate too ldquoIt was a production that was ready to go whichhad received five star reviews and sold out itsextended run in the Botanics in 2012 So weknew that the work was good but therersquos nodoubt that for a first tour we wanted to makeit easier for the venues to sell it Most venuesknow they can find an audience for Romeo and Juliet rdquo

In time he hopes that audiences aroundthe rest of Scotland will come to trust the Bardin the Botanics name sufficiently to take on theless familiar plays

ldquoYou just donrsquot know how quickly acommunity is going to turn out for Henry IV yetrdquo he says ldquoHopefully three or four toursdown the line theyrsquore going to turn out forBard in the Botanics ndash and if it happens to be

Henry IV well thatrsquos greatrdquoGiven their reimagining of A MidsummerNightrsquos Dream as a 1920s burlesque musicalis there a particular Bard in the Botanicsapproach to Shakespeare

ldquoOur kind of unofficial motto is lsquoBe BoldBe Braversquordquo Barr says ldquoIf wersquore continuingto stage these plays around 400 years afterShakespearersquos death I think therersquos an urgencyto ask lsquoWhyrsquo It is important to questionlsquoWhat is the story that we want to tellrsquo I wantto see how these plays intersect with historyand todayrsquos society not to present museumpieces

ldquoItrsquos always with an eye to try to releasesomething thatrsquos within the textrdquo Barrinsists ldquoWersquore not remotely interested ininnovation for innovationrsquos sake The playsare masterpieces thatrsquos essentially why wersquorestill doing them 400 years later But to revealsomething thatrsquos unexpected or new thatrsquosimportant to usrdquo

Bard in the Botanics

wwwbardinthebotanicscouk

Rosalind and Audreyin the forest Bardin the Botanicsrsquo As You Like It

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Shakespeare at the Tobacco Factory stf 2016 Seasonco-production with Tobacco Factory Theatres

HAMLETBy William Shakespeare

Directed by Andrew Hilton

Main run Thu 11 February ndash Sat 26 March 2016

In repertoire with Allrsquos Well That Ends WellMon 25 ndash Wed 27 April Sat 30 April 2016

The most famous play in world drama Hamlet

turns a new face to every decade So many

elements - political madness sex murder ndash all

brought together in a drama that is both a thriller

and the profoundest meditation on our human

condition

ldquoThrilling workrdquo The Guardian on Romeo amp Juliet

ldquoBullseyerdquo WhatsOnStage on Romeo amp Juliet

Shakespeare at the Tobacco Factory Friends Priority Booking opens Wed 23 September 10am

wwwstf-theatreorguk

Tobacco Factory Theatres Members Priority Booking opens Wed 16 September 10am

wwwtobaccofactorytheatrescom

Public Booking opens Wed 30 September 10am

Tobacco Factory Box Office 0117 902 0344

ALLrsquoS WELL THAT ENDS WELLBy William Shakespeare

Directed by Andrew Hilton

Main run Thu 31 March ndash Sat 23 April 2016

In repertoire with Hamlet

Thu 28 ndash Fri 29 April Sat 30 April

A young woman using skills bequeathed herby her father saves the French Kingrsquos life and

is rewarded with the right to choose her own

husband But what if the chosen one wonrsquot play

the game How can she get him into bed How

can she make him love her

ldquo There is something approaching real

magic hererdquo The Arts Desk on The School for Scandal

P h o t o s M

a r k D o u e t

Dorothea MyerBennett in Richard III

Benjamin Whitrowand Julia Hills in The

School For Scandal

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Having conquered

Hollywood and vanquished

the global entertainment

industry video games now

on our culture So where

does the Bard stand in all of

this We sent a Shakespeare

scholar to investigatehellip

Words Andrew Bretz

Shakespeare video games

46 SHAKESPEARE magazine

T eGamersquos A oot Silent Hill is one

big-name gamewhich includesShakespearereferences

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Shakespeare video games

SHAKESPEARE magazine 47

German cardboard Macbeth datingfrom the early1800s

Hamlet reimaginedRyan Northrsquos To Be

Or Not To Be

W

hen you walk intothe wood panelled Victorian Gothicismof the Gail Kern Paster

Reading Room at theFolger Shakespeare Library in WashingtonDC video games are probably the lastthing on your mind Buried deep withinthe archives however are a set of fragilecardboard figures printed in Germany in theearly 1800s representing each of the maincharacters of Macbeth

Nineteenth century German children would play with these figures on smallcardboard stages no bigger than a dollhouseey could replicate the story as it was toldin Shakespeare or use their imagination tochange the ending letting Lady Macbethsurvive and bringing Duncan back from thedead if they so chosee limits of the game were the limits of their imagination

Today the lsquogamificationrsquo of Shakespeareis a big business from Ryan Northrsquos choose-your-own-adventure edition of Hamlet To Be Or Not To Be to IDW Gamesrsquosupcoming Kill Shakespeare board gamebased on the comic of the same name

Gamifying Shakespeare is filtering intoschools libraries and the theatrical worldas well with the University of California atDavis the Stratford Festival in Ontario theGlobeeatre in London and the LondonMetropolitan Archives all experimenting with video game elements in exhibits productionsand research

Why video games In a sense this is thelogical next step in the media development ofShakespeare Hersquos everywhere in other media

books movies merchandise But videogamese answer for that depends on whoyou ask

StorytellingOccasionally individuals or publishinghouses develop video games that try to tellthe story of say Hamlet yet this is relativelyrare One example would be Elsinore a time-looping narrative adventure game set in the world of the play Players play the game as

Ophelia who wakes up knowing that in fourdays the entire court will be dead and shemust do something to stop ite problemis that she is stuck in a time loop reliving thesame four days over and over againat said Shakespearersquos presence in the

video game industry tends to be focused oncitation rather than adaptation of the playsat is video games for Xbox Playstationand other popular gaming systems often

just cite Shakespearersquos plays as a part of acommon cultural heritageese games donrsquotrestage say Hamlet but they quote the playIn these cases Shakespeare is used to establisha point of identification for the audience His writing tells the audience something aboutthe character or the situation

Given that audiences are supposedto be able to identify the quotations asShakespearean it is unsurprising that Hamlet is the most popular text for game designers to

cite Ine Elder Scrolls Online for instancea merchant NPC (non-player character)quotes Polonius when players interact sayingldquoNeither a borrower nor a lender berdquoe words establish the NPCrsquos role as a merchant while fitting the medieval world of thegame In the game LA Noire upon pickingup a fake shrunken head at a crime scene adetective leaps into high melodrama withldquoAlas poor Yorick I knew him Horatiordquoequotation and the clever voice acting establish

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Shakespeare video games

48 SHAKESPEARE magazine

the characterrsquos strait-laced yet macabre senseof humour

Sometimes citing Shakespeare is a partof a critique of a larger theme In the game Mass E ff ect the Elcor are a race of elephantinealiens who preface all statements with adescription of the emotion they are feelingand who speak in a slow monotonous drone As players interact with the expansive worldthey can discover a number of advertisementsfor an all-Elcor Hamlet e idea of theElcor actor ndash the ultimate in a flat woodenperformer ndash having to preface ldquoTo be or not

to berdquo with ldquomorose ruminationrdquo goes beyondthe simple humour of a bad Shakespeareperformance It subtly asks what it is aboutacting (and especially voice acting) that isvaluable

Shakespeare can appear in video gamesnot merely as a marker or contextualisationtool but as a part of a puzzle For example inthe game Silent Hill 3 players must arrange aset of Shakespeare anthologies on a bookshelfin an abandoned shopping mall in order to

proceed in the game At the hardest levelthe puzzle clue takes the form of a poemthat references all the major tragedies Romeoand Juliet King Lear Macbeth Othello andof course Hamlet e bloody nature of thetragedies fits with the bloody nature of theSilent Hill series of games which fall into thesurvival horror genre

Popular video games have also servedas the inspiration for games that engage with Shakespeare in a more direct way For

example Daniel Fischlin at the Universityof Guelph in Ontario Canada led a teamthat created a Flash game called rsquoSpeare Itrsquos

a scrolling arcade-style game suggesting thersquo80s hit Galaga which sees players identifyingand navigating through a series of enemies who turn into words upon being destroyede player progresses through the levelsby collecting the correct words to createShakespearean quotes learning Shakespeareantrivia along the way

ImmersionOne of the most exciting aspects of videogames is the ability to immerse the player inthe world of the game in a way that othermedia simply cannot do Being able to walkaround Prosperorsquos cell Julietrsquos balcony orto stand before the ghost of Hamletrsquos fatheras he cries out ldquoList list O listrdquo ndash theseexperiences are made possible through videogame technology

Students of Scenic Arts at the Universityof Hildesheim in Germany created Projekt ARIEL or SturmMOD in 2008 using a lsquomodrsquo(or modification) to the engine that runs

the game Far Cry 1 e performance artproject allowed users to experience Prosperorsquosisland interacting with certain parts andexploring others Players could walk aroundan imaginative rendition of Prosperorsquos cell and witness or interact with elements of the playincluding diff erent characters like CalibanProspero and Miranda

Four days to savethe Danish court

Elsinore

Another Hamlet reference this timein LA Noire

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Shakespeare video games

SHAKESPEARE magazine 49

Gina Bloom at the University of Californiaat Davis is presently spearheading a projectthat will be demonstrated in the lobby of theStratford Festival theatre in Ontario Canadathis summere project Play the Knave AShakespeare Performance Videogame lets usersdesign a virtual performance space and thenperform a scene from a Shakespeare playinhabiting this constructed space with anavatar As a Davis insider explains ldquoWe use akinect motion capture camera to capture theuserrsquos skeletal data so that players use theirentire bodies to control their avatarrsquos gesturesonscreen all the while reciting the lines from

Shakespearersquos scenerdquo is literally immersesthe players in the scene

Shakespearersquos Globe eatre in Londontook another tactic regarding immersionin the production of the game HemmingsrsquoPlay Company Hosted on the Playgroundportion of the Globersquos website and thusaimed at an audience of children the gamehas players taking on the role of Hemmingsan Elizabethan bear who leads a troupe oftheatrical animals such as Kit the Cat Dekker

the Dog and Slye the Foxe turn-based game leads players through

the vagaries of Elizabethan theatre practicefrom patronage to lost props and the plagueBy the end of the game players must earnenough money to rebuild the Globe after itburns down during a performance of HenryVIII

Also from Shakespearersquos Globe are twoinnovative video experiences created forchildren aged five to 11 e first Exploring

Shakespeare features two boys on a tour ofthe Globe theatre who sneak off to explorebackstage e video illustrates four plays

using short animations that are keyedto things the boys find backstage etechnology combines live action film andanimation to create an interactive touchablegame Filled with mini-games quizzes andinteresting facts about Shakespeare the gameallows players to click through the narrativeor to stop and learn more as they go along

e second video called Staging It usesthe same technology as the first film but thistime is for the 11-16 age group In this gamee Globe has filmed two actors performingfamous duologues from A MidsummerNightrsquos Dream and Macbeth on the Globestage Rather than shoot it once the actorshave performed their lines in diff erent ways(happy flirtatious defensive and so on)creating several diff erent clips per linePlayers can watch each of the clips and addtheir choice to a dynamic storyboard tobuild up their final scene Impressively theplatform allows for up to 1000000 diff erentcombinations of clips

Apps and Mini-GamesItrsquos when you start to look outside of therealm of popular video game platformslike Xbox or Playstation that Shakespeare

Silent Hill 3 Brush upyour Shakespeare ifyou want to survive

Hemmingsrsquo PlayCompany fromShakespearersquosGlobe

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Shakespeare video games

50 SHAKESPEARE magazine

really starts to pop up wherever you looke ubiquity of Shakespeare is especiallynoticeable when you start to look at apps andmini-games designed for phones and tablets

In 2012 Big Fish Games released aniPhone and iPad game called Hamlet that featured all the main characters ofShakespearersquos play but transposed them intoa save-the-princess narrative puzzle game A time traveller lands in Denmark andaccidentally kills Hamlet and so players mustcomplete his journey for him saving Opheliaand killing Claudiuse Shakespeareancontent is minimal and heavily adapted andyet it fits with the puzzle format in whichShakespeare tends to be found in videogamese Chronicles of Shakespeare Romeo amp

Juliet ande Chronicles of Shakespeare A Midsummer Nightrsquos Dream are lusciously-illustrated puzzle games for the PC In themplayers act as one of the characters from theplays gathering items and clues through aShakespearean environment

Among the literally thousands of appsrelated to Shakespeare that can be found forthe iPad or Android tablet are

e Shakespearean Insult Creator which generates invectives drawn from a wholly Shakespearean vocabulary So nexttime you want to call someone a jerk trysomething more like ldquoou fusty follyfallenfustilarianrdquo

e Shakespeare Translator whichtranslates ldquonormal English words and phrasesinto the words of Shakespeare himselfrdquo

e Shakespeare Fortune Cookie which provides short quotes from the plays

and a small trivia game Shakespeare or Die a game that

scrambles the words of famous quotationsfrom the plays and asks you to identify theplay and character who spoke the line If youmake a mistake however beware the witchesese apps are either explicitly games or

they are coming out of a game-like impulse tomake Shakespeare more accessible to everyone with an internet connection

Brave New WorldsIn a world where Shakespeare is an industrycounted in the millions of dollars per yearit is so easy to forget that Shakespearersquos playsare just that ndash playsere is a sense of joyand fun and happiness embedded in theexperience of watching them Games are oneof the ways that people over the centuries

have tried to recapture that elusive sense ofplayfulness within Shakespeare So it makesperfect sense that now with the advent ofdigital technologies Shakespeare is movinginto the digital world with a vengeance

From big studio games likee ElderScrolls to small apps that can be downloadedfor free from talking bears to immersiveperformance experiences Shakespeare iseverywhere in video games Rather than beingan undiscovered country into which the Bard

is only just beginning to emerge games havein fact engaged with Shakespeare and his works for hundreds of years And they willprobably continue to do so for hundreds ofyears to come

rsquoSpeare is a scrollingarcade-stylegame with addedShakespeare trivia

Hamlet is aShakespeare-themed puzzle fromBig Fish Games

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Meet thy makers

Helen Mears fell into bardolatryduring her teenage years and has

never recovered She is a volunteersteward at Shakespearersquos Globe

which ensures a regular diet of theBard She teaches English Film andMedia at Suffolk New College and isa specialist in teaching Shakespeareusing active methods Her favouriteShakespearean actor is Jamie Parker

and her favourite plays are the SecondHistory Tetralogy She hopes to

finish her Masters in the AdvancedTeaching of Shakespeare very soonFind her on Twitter hipster_hels

Paul F Cockburn is an Edinburgh-based freelance magazine journalist who specialises in writing about

arts and culture equality issues andpopular science Hersquos sufficiently

grey-haired for his English Literaturetraining to have sort of overlapped

with The BBC Television Shakespeareproject saving at least some of the

plays from death by academiaFind him on Twitter paulfcockburn

Jen Richardson first fell in love withShakespeare as a 15-year-old schoolgirl

ldquoHe got under my skin and hersquos still theretodayrdquo After training with a Manchester-based drama tutor she went on to pursuean acting career Drama remains a greatinterest but her focus is now on sharing

her passion for Shakespeare throughher writing In her spare time Jen is

generally down in Stratford-upon-Avonsitting on her favourite bench behind

Holy Trinity ChurchFind her on Twitter The_JenJen

Andrew Bretz is a sessional instructorof English Literature and Drama

specialising in early modern dramaHe has taught at Wilfrid LaurierUniversity the University of Guelph

Brock University and McMasterUniversity For the past two years he

has taught a special summer intensiveat Ontariorsquos Stratford Festival His PhDdissertation was on the representationof sexual violence on the early modern

stage Find him on TwitterAndrewBretz001

Just some of the contributors to this issue of Shakespeare Magazine

Rosalind Lyons is a painter whohas exhibited widely in both mixedand solo shows with work in UK

and international private collections A life-long love of Shakespeare isreflected in many of her paintings

and a particular recent focus isShakespearersquos Globe theatre where shespent a period as artist-in-residenceShe is currently studying for a PhD

in Painting and ShakespeareanTheatre at Anglia Ruskin University

in CambridgeFind her on Twitter roslyons

52 SHAKESPEARE magazine

Contributors

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Page 19: Shakespeare Magazine 08

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Even more than London there

is one place above all that is

green and pleasant landhellip

Words Helen Mears

Pictures Helen Mears and Susan Braund

Stratford-upon-Avon

SHAKESPEARE magazine 19

W e could be in any smallpicturesque Englishtown with its medievalchurch half-timberedTudor buildings shops

restaurants and delightful riverside walksBut Stratford-upon-Avon is not just any

town Itrsquos one of the best-known most- visited and probably most-loved locations inEngland Thatrsquos because itrsquos the birthplace of William Shakespeare Itrsquos also the place heseems to have considered his home After allShakespeare grew up there went to schoolthere and spent his final days there

So here is Shakespeare Magazinersquos on-the-ground guide to Stratford-upon-Avon Hereyoursquoll find hints and tips for first-time visitorsand returning aficionados alike What to see

the best ways to see it where to stay where toeat and how to get around while yoursquore there Are you ready Then letrsquos start our tourhellip

The BirthplaceSurely the must-visit spot for any self-respecting Bardolator this is where it all beganndash the six-roomed Merchantrsquos House on HenleyStreet where in April 1564 Mary Shakespeare wife of glover John gave birth to their famousson Williame house is approached

HOME

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20 SHAKESPEARE magazine

through the Shakespeare Centre on the left-hand side of the Birthplace A short exhibitionshows you items such as a prized First Folioand the foot of Stratfordrsquos Old Market Cross

from where glover John Shakespeare wouldhave sold his wares A walk through the gardens leads to

the house itself You enter through theself-contained annexe where William and Anne Shakespeare spent the first years oftheir married life and where their childrenSusannah Judith and Hamnet were born eannexe was later occupied by Williamrsquos sister Joan You can walk through the parlour andthe dining room to Johnrsquos workshop where heproduced gloves and other leather goods

A staircase leads to two bedrooms onefor the girls one for the boys and a loft spaceis visible where the apprentices would haveslept Finally you reach the birth room themain bedroom in which William and his sevensiblings were born

Guides are on-hand in all rooms to tell youtheir history and other gems of informationComplete your visit by watching classicShakespearean speeches performed in thegarden by resident acting troupe Shakespeare

Aloud and then picking up some souvenirs inthe gift shop and excellent bookshop

e five house ticket is the best value givingyou entry to all of the properties (HarvardHouse is a current alternative to New Place)and allowing you to view Shakespearersquos Gravein Holy Trinity Church

The Avon and Boat trips A walk along the Avon is a must in any seasone gentle stroll from the RSC to Holy Trinity

Church will take you past drooping willowssmoothly sailing swans and green parklandFor a diff erent perspective on the town you cantake a boat trip along the river itself Startingfrom near the RSCeatre you cruise gentlydown to the church where Shakespeare wasbaptised and buried before turning back andheading past the theatre and under CloptonBridge Itrsquos a bridge that William himself would have known built as it was around1480 e Avon is very pretty everywhere

you look are the incredible tame (and alwayshungry) swans and picturesque houseboatse banks are lined with weeping willows that just might have been the inspiration for poorOpheliarsquos watery end in Hamlet If you wouldrather take a slower self-driven trip there arerowing boats canoes and small speedboatsfor hire Beware though these are not aseasy to control as they look and you may wellspend a good proportion of your allottedtime relearning how to row and avoiding

Stratford-upon-Avon

The birth roomat ShakespearersquosBirthplace

Molly fromShakespeare Aloudin the Birthplacegarden

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SHAKESPEARE magazine 21

other hapless river tra ffic Boat trips typicallylast for around 40 minutes and are especiallypleasant in the late afternoon when the sun setsslowly behind the church steeple For addedluxury you can take a restaurant cruise where

afternoon tea or an evening meal are served onboard or as a quicker cheaper alternative youcould take the chain ferry across the Avoneferry dates from 1937 and is the last of its kindin the UK

Nash House and New Place

As well as the Henley Street property theShakespeare Birthplace Trust care for fourother locations in and around Stratford allassociated with Williamrsquos family Nash House

and New Place were adjoining propertieseformer was the home of Judith Shakespeareand her husband while the latter was thefamily home that William purchased in 1597at the time the second most expensive housein the town Sadly it was demolished by asubsequent owner but the Trust are currentlyundertaking a massive renovation of the siteis means that the properties will not be opento the public until 2016 to coincide with the400th anniversary of Shakespearersquos death

Hallrsquos Croft

A brief walk from New Place will take youto Hallrsquos Croft the home of SusannahShakespeare and her husband the physician John Hallis is an interesting property in its

own right and is partly set up to show how apractising physician would have worked at thetime A special mention too must goe Arterthe award winning independent craft shopadjoining the building and to the beautifulgarden in which open air performances ofShakespearersquos plays are sometimes performed

Stratford-upon-Avon

Holy TrinityChurch viewedfrom the Avon

Nash House andNew Place

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22 SHAKESPEARE magazine

Anne Hathawayrsquos Cottage A short distance from Stratford is Shottery where you can find the beautiful cottage

which was the home of the Hathaway familySet in yet another lovely garden this is thehouse in which Anne Hathaway grew upand was courted by the young William JohnShakespeare served with Anne Hathawayrsquosfather on the town council so their childrenprobably knew each other from a young agee family remained associated with thecottage for several centuries and have spunmany a yarn about the young lovers theveracity of which are highly questionable

However the stone floor of the kitchen isoriginal and we know that William must have walked those stones many many times

Mary Ardenrsquos Farme last of the Shakespeare properties is Mary Ardenrsquos Farm Shakespearersquos mother lived hereand itrsquos where she probably took the infant William when plague broke out in Stratfordshortly after his birth Open from March toNovember only the farm is run as a working

Tudor farm with costumed guides caring forthe buildings and the animals Itrsquos a great placefor a family day out with plenty to see and doand numerous activities runningere are

daily falconry shows archery animals to feedand games to play You can even treat yourselfto a genuine Tudor meal in the cafe ndash pottageand home-baked breads are a speciality

What if you donrsquot have a care town itself is fairly small and all themain attractions are within walking distanceHowever the easiest way to get around and toenable a visit to Anne Hathawayrsquos Cottage andMary Ardenrsquos farm is to the Hop On-Hop Off City Sightseeing busis will take you to allthe main town locations and also to Shotteryand Wilmcote A day ticket will give youunlimited access to the buses and allow you tovisit all of the Shakespeare properties e buscan be picked up by the statue of Touchstonethe jester at the top end of Henley Street

Walking Tours Another excellent way to see the main sites ofStratford and to learn some of the historicaltales of the town is to take a walking tour

Stratford-upon-Avon

Anne HathawayrsquosCottage

Mary Ardenrsquos Farm

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ere are several options depending on thetype of tour yoursquod likee town guides runhistorical tours of the town every day (yesevery day) of the year For those who like to be

a bit more daring there are evening ghost walksled by costumed guides who will tell you someof the spooky tales of Stratford Both of thesetours start from the Swan Water Fountain onthe riverside

Or if you like the idea of being guidedby Shakespeare himself on a Saturday (andMonday to Saturday through the summerholidays) there are town walks led by the manhimself (or someone who looks an awful lotlike him)ese run from Tudor World onSheep Street an interesting museum in thehouse that belonged to the man who wasallegedly the model for Sir John Falsta ff

Holy Trinity Church Another must-see is the townrsquos 13th centurychurch with its distinctive spire that dominatesthe view from the river Remember that if youhave a ticket to the Birthplace properties yourvisit to the grave is free e church is famousfor being where William Shakespeare wasbaptised on 26 April 1564 e old font that

was used for the baptism is displayed in thechancel along with copies of both the registerof baptism for April 1564 and the register ofburials for April 1616 where Shakespearersquosname can be clearly seen Also in the chancelin front of the altar are the Shakespeare familygraves Williamrsquos bears its infamous curse

ldquoGOOD FRIEND FOR JESUSSAKE FOREBEAR

TO DIGG THE DVST

ENCLOSED HEREBLESTE BE YE MAN YT SPARESTHESE STONES

AND CURSED BE HE YT MOVESMY BONESrdquo

On the wall above the grave is the effigy of

Shakespeare Itrsquos one of the few images which was produced within the lifetime of AnneShakespeare and probably one of the mostauthentic likenesses of her husband

The Guildhall and King EdwardrsquosSchoolDirectly opposite the site of New Place standthe Guildhall and the townrsquos old grammarschool Both of these places have links to theShakespeare family King Edwardrsquos Schoolis where the young William is believed tohave studied and itrsquos probably where hefirst encountered the classical texts which soinspired him As the son of a town councillorhe would have been entitled to a placee

old school is sometimes open to visitors at weekends or during the holidays but theschool has just won a lottery grant whichshould enable them to open it as a permanentattraction e Guildhall was sometimes hostto groups of travelling players and so it couldbe the site where young William first sawtheatrical performances It is widely believedthat John Shakespeare owing to his role astown bailiff was responsible for supervising the whitewashing of the medieval Doom Painting

Stratford-upon-Avon

SHAKESPEARE magazine 23

The GuildhallDoom Painting

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24 SHAKESPEARE magazine

Stratford-upon-Avon

is has been recovered and is now once againvisible above the chancel arch

The Royal Shakespeare CompanyTheatre and the riversidee riverside park is home to several interestingsights It is from here that you can get a view ofthe Clopton Bridge pick up a river cruise feedthe swans and admire the Gower Memoriale memorial was presented to the town in1888 and features a statue of Shakespeareseated upon a plinth overlooking statues offour of his best known charactersese areHamlet Prince Hal Sir John Falsta ff and Lady

Macbeth who represent Comedy HistoryPhilosophy and Tragedy Closer to the theatreis the beautiful Swan Water Fountain unveiledin 1996 If you see the water frothing fear notit seems to be a sport amongst local youngstersto fill the fountain with washing up liquid on aregular basis

e Royal Shakespeare Companyeatre was built in 1932 but has recently undergonea complete refurbishment in both the mainand the Swan theatres e building reopened

in 2010 with both theatres having beenconverted to boast thrust stages and curvedgalleries similar in shape to the originalElizabethan playhousese world renowned

Royal Shakespeare Company performshere throughout the year staging plays byShakespeare and his contemporaries as well asby newer authors ey also run an educationprogramme exhibitions family activitiesduring the school holidays and theatre toursTo see Stratford from an entirely diff erentangle take the lift up the 36 metre high towerfor spectacular views across the town

Where to eat and drinkStratford has an excellent range of eateriesto suit all tastes and budgets ere is pubgrub afternoon teas world cuisine finedining pizza pasta and fish and chips Manyrestaurants off er pre-theatre menus and ifyoursquove been on a town walk you may find thatyou can get discount vouchers for your foodere are many pubs in Stratford including theGarrick Inn the oldest pub in the town whereyou can taste the Shakesbeer specially brewedto celebrate Shakespearersquos 450th Birthday in2014 If you want to spot RSC cast members

relaxing after their showse Dirty Duck on Waterside is the place to drink

Where to stay Again Stratford-upon-Avon has a good varietyof hotels bed and breakfasts and holidayhomes All the main chains have hotels inthe town from budget brands to the luxurynamesere is an excellent choice of bedand breakfast establishments in and aroundthe town again these will suit all tastes and

budgets Airbnb also has an interesting rangeof rooms flats and houses to rent in StratfordHowever be sure to book early especially forthe prime summer months

The Shakespeare Birthplace Trustwwwshakespeareorguk

The GowerMemorial Will andPrince Hal

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M

any places around the worldhave been named afterStratford-upon-Avon thebirthplace and home of William

Shakespeare And many of those Stratfordsare home to theatre festivals of varying sizesStratford in the state of Victoria in Australiahas an annual Shakespeare festival still goingevery year while Stratford in Connecticut inthe USA had a major theatre from the mid1950s to the mid 1980s Stratford Ontarioin Canada however stands out among thesetowns and festivals not merely in scope but ininternational reputation and prestige

In 1950 Canada had no home-growntradition of classical theatre Certainly

Shakespeare was performed but there hadbeen a strong anti-theatrical movement inCanada throughout the 19th century whoseeffects still lingered throughout the first half ofthe 20th As a cultural icon Shakespeare wasedifying to be sure but certainly not to beperformed The Stratford Festival changed allof that for Canada

In the late 1940s the local newspapers andgovernment of the town conceived of the ideaof revitalising Stratfordrsquos sagging economy by

capitalising on the name of the town and its

long association with the Bard They bandedtogether and under the leadership of TomPatterson they brought over Tyrone Guthrieand Alec Guinness for the first season in1953 Guthrie had famously directed Gielgud

inHamlet

at Elsinore Castle in Denmarkand had been the manager of the Old Vic inLondon He wanted to create an acting spacethat echoed the original Globe theatre whereactors were surrounded by the audience incontrast to the proscenium arch theatres thatdominated the London and New York scenes

From the first performance which tookplace inside a giant circus-style tent on thebanks of the Avon River the festival workedto create a new aesthetic of Shakespeareanperformance The thrust stage of the FestivalTheatre designed by Tanya Moiseiwitschhas been recognised as one of the greatinnovations in stage design of the 20th centuryGenerations of actors have had to learn howto address an audience on three sides of themsometimes only an armrsquos length away

The festival has been central to the careersof Canadian actors such as ChristopherPlummer Martha Henry and even WilliamShatner Actors from the US and UK havesought to play the festival as well including

Peter Ustinov Christopher Walken and JessicaTandy Indeed these international stars notonly lend credibility but have indelibly markedthe festival For instance Maggie Smithrsquosperformance as Rosalind in As You Like It inthe 1977 and 1978 seasons is legendary in thecompany and the town

Today the festival has expanded to includemultiple performance spaces a theatre schooluniversity accredited courses and the largesttheatrical costume shop in North America

It has started countless careers inspiredcompanies such as Torontorsquos SoulpepperTheatre and helped shape the Canadiantheatre landscape for over 50 years

Stratford Festival ndash Ontario Canada

wwwstratfordfestivalca

MEANWHILE

IN CANADATherersquos more than just one Stratford you knowAnd the one in Ontario Canada has a world-renownedShakespeare Festival gives us a tour

Stratford Ontario

SHAKESPEARE magazine 25

ldquoFrom the fi rst performancethe Festival worked tocreate a new aesthetic ofShakespearean performancerdquo

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Planning to performa short selection

from Shakespeare

The 30-Minute Shakespeare

Anthology contains 18 abridged

scenes including monologues from

18 of Shakespearersquos best-known plays

Every scene features interpretive stage

directions and detailed performance

and monologue notes all ldquoroad testedrdquo

at the Folger Shakespeare Libraryrsquos

annual Student Shakespeare Festival

THE 30-MINUTE SHAKESPEARE is an acclaimed series of abridgments that tell the story of each play while keeping the beauty ofShakespearersquos language intacte scenes and monologues in this anthology have been selected with both teachers and students inmind providing a complete toolkit for an unforgettable performance audition or competition

NICK NEWLIN has performed a comedy and variety act for international audiences for more than 30 years Since 1996 he hasconducted an annual teaching artist residency with the Folger Shakespeare Library in Washington DC

The 30-Minute Shakespeare series is available in print and ebook format at retailersand as downloadable PDFs from 30MinuteShakespearecom

The 30-Minute Shakespeare Anthology

includes one scene with monologue

from each of these plays

ldquoLays the groundwork for a truly fun and sometimes magical

experience guided by a sagacious knowledgeable and intuitive

educator Newlin is a staunch advocate for students learning

Shakespeare through performancerdquo mdashLibrary Journal

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Roaslind Lyons

28 SHAKESPEARE magazine

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For UK artist Rosalind Lyons the Bard is a

constant presence in her creative life She tells

us how Shakespeare inspired the haunting and

dreamlike works that adorn these pages

Words and paintings by Rosalind Lyons

Rosalind Lyons

SHAKESPEARE magazine 29

Left TheRoaring Boys

PAINTINGSHAKESPEARE

S hakespeare has long been at the heart ofmy work sometimes directly and obviouslyin the subjects and often in the titlesBut always Shakespearersquos words charactersand stories are there in my head when Iam painting ndash a perpetual conscious andunconscious presence

My style echoes that of the Renaissancepainters and Elizabethan portraits andthese influences combined with a life-long love of Shakespeare made my firstvisit to Shakespearersquos Globe pivotal Iexperienced a powerful sense of connectionand recognition Here suddenly ideasand themes with which I had been so longpreoccupied were brought to life

I subsequently gained access to theGlobe to draw and later spent some time

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as Artist in Residence thereat experienceprompted more in-depth exploration notonly of Shakespeare and painting but of therelationship between painting and theatreere are of course the strong visualconnections ndash both are spaces for spectacleand illusion But also compelling ideas oftransformation imagination storytelling andidentity And overall the theme of ambiguitye blurring of boundaries between realityand fiction male and female light andshadow past and present I am fascinated byhow we respond to history how we re-presentand re-imagine the past And the figures inmy paintings are imagined as belonging toboth now and then ndash flitting back and forthacross the threshold between past and presentbetween Shakespearersquos time and our own

modern worldI have painted some specific characters

from Shakespeare but many subjects ofmy paintings are anonymouse figuresare unknown their place purpose role is amysteryis anonymity is unsettlingereare clues in the setting in the costumes ndash orperhaps I should just say in the clothes theyare wearing ndash but the context is not obviousI am fascinated by the dramatic convention ofcross-dressing ndash and particularly the inherent

confusion as with Rosalind ( As You Like It )and Viola (Twelfth Night ) in the idea of aboy playing a girl playing a boy Many of thecharacters I invent are androgynous theirgender and age uncertainis ambiguityof identity interests me in the context ofvisual illusion and theatrical transformationthe idea of inbetween-ness and somethingunresolved

Like theatre my paintings are concerned with inventing characters and the creation

Right No MoreYielding But A

Dream

Roaslind Lyons

30 SHAKESPEARE magazine

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of an imaginary world and I am particularlyattracted to the fools fairies and witchesIn A Midsummer Nightrsquos Dream the fairiesrsquoactions may seem malevolent or benign or just mischievous but there is definitely a dark

side an underlying sense of threate Fool too is intriguing Shakespearersquosfools frequently describe themselvesor are referred to as a nobody but areunquestionably much moree fool is anoutsider concerned with but at the same timeseparate from the story He ndash or sometimesshe ndash doesnrsquot quite belong anywhere butseems to exist on the boundary between thefamiliar and the uncanny

I am attracted to the strange to mysteryand shadows and try to express through myimages a strong feeling that it could be thator maybe something else As Orsino says atthe conclusion of Twelfth Night ldquoA naturalperspective that is and is notrdquo While makinga painting and even when it is finished Idonrsquot know really who my characters are ndashthey remain elusive But I like not knowingand ultimately meanings always change anddepend on individual perceptions

My experience at the Globe led to aparticular fascination with the ambiguous and

protean quality of the theatrical performerhow their identity transforms and fluctuatesI was attracted by this when watching

Rosalind Lyons

SHAKESPEARE magazine 31

Above A MidwinterNightrsquos Dream

Right Three Fools

Far right FollowingDarkness

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rehearsals observing actors shift between selfand impersonation between diff erent realitiesand identities When they are not acting theyndash metaphorically and often literally ndash melt

into the shadows I am interested too in thephysical and symbolic threshold between lsquoonrsquoand lsquooff rsquo-stage the transformation inherentin an actor moving from the wings onto thestage assuming another self and anotheridentity Particularly evocative is the fact thatactors were colloquially known as shadowsin the Elizabethan playhouses ndash suggestingsomething unknowable and insubstantialIn the Prologue to Henry V Shakespeare hasthe Chorus describe the players as lsquociphersrsquoimplying deception and secrecy

Artists in the past who have tackledShakespeare have generally produced imagesthat directly illustrate the text or representfamous actors or scenes from a particularperformance Today as well as on the stageShakespearersquos plays are frequently re-imaginedin very successful film and TV adaptationsbut I have struggled to find more than ahandful of contemporary fine artists whohave engaged with Shakespeare on any levelPerhaps Shakespeare as a subject is seen

by some as too traditional too lsquopopularrsquoor simply just too lsquooldrsquo But in the theatreand in literature there is an ever-increasingenthusiasm for innovative interpretationsof the plays and for me Shakespeare is aconstant inspiration

e Prologue of Henry V also urges theaudience to ldquoPiece out our imperfections withyour thoughtsrdquo to liberate the imaginationand create another kind of reality to shapeour own fantasies within the ldquowooden Ordquo of

the theatre In my paintings I endeavour todo the same

Explore the work of Rosalind Lyons atwwwrosalindlyonscom

Above These Two CreaturesBelow Therersquos Magic In Thy Majesty

Roaslind Lyons

32 SHAKESPEARE magazine

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$amp( ) +-01

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Aidan OrsquoReilly

34 SHAKESPEARE magazine

Looking forRichard AidanOrsquoReilly is playingShakespearersquosbaddest monarch

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Aidan OrsquoReilly

SHAKESPEARE magazine 35

You are legally blind having been

diagnosed with retinoblastoma as an

infant How did this impact on your

acting aspirations and early career

ldquoMy parents did a good job raising me Inever grew up thinking of it as a handicap orthinking it could hold me back from what I wanted to do I couldnrsquot play sports at all soI think my parents were grateful that I hadsomething that I was passionate about from avery young age

ldquoI went to a public elementary school with a program designed for the blind so itfelt very natural for me to be the way that I was And acting has always been part of thatrdquo

You went to RADA in London Was

there a reason why you wanted to

train in England and not in the US

ldquoItrsquos always been an ambition of mine to

travel as far and wide as possible Also myhero growing up was Peter OrsquoToole ndash Iread his autobiography in high school andlearned he had gone to RADA and decided I wanted to go there too So I auditioned therenot knowing that RADA is arguably thebest drama school in the English-speaking world Consequently I was quite relaxed atthe audition which is probably why I gotin My ignorance can sometimes serve me well Going to RADA was a life-changing

Aidan OrsquoReilly is an actor with an

inspiring story Legally blind since he

was six months old he forged a passionfor drama at an early age Aidan went

on to gain a BA with honours from

Londonrsquos Royal Academy of Dramatic

Art before touring for three years with

the American Shakespeare Center

In 2012 Aidan was diagnosed with

sarcoma a rare cancer He bounced

back in 2014 after intensive treatment

and is now cancer-free We spoke to

Aidan as he prepared to play the title

role in Richard III for Californiarsquos Marin

Shakespeare Company We asked himto share his story and to give us his

take on one of Shakespearersquos most

fascinating characters

Interview by Jen Richardson

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Aidan OrsquoReilly

36 SHAKESPEARE magazine

experience I was lucky enough to havecontact with brilliant professors and Irsquom stillin awe of the students I went to school withI wouldnrsquot trade that experience for anythingrdquo After graduating from RADA you

went on the road with the American

Shakespeare Center Tell us a bit

about that

ldquoThat was one of the happiest times of mylife In many ways I got spoiled I was a working actor 11 months out of the yeartouring nationally seeing parts of the USI had never been to before doing plays Iloved and working with directors who werevehemently faithful and respectful to the text When I wasnrsquot on the road I was in residenceat the Blackfriars Playhouse in StauntonVirginia with many extraordinary actorsI was very lucky to be thererdquo

Three years ago you were diagnosed

with sarcoma How did you

overcome this enormous challenge

and return to the stage in 2014

ldquoThe only reason Irsquom still alive is because ofmy mother Lily and my wife Jocelynn AlsoI was fortunate that we caught it before it hadspread and it was on my leg and away fromany major organs

ldquoI am very grateful for my team of doctorsat UCSF who did an incredible job in mytreatment and follow-up care Irsquom glad to beback to workrdquo Yoursquore now due to play Richard III

with Marin Shakespeare Company

Howrsquos it going so far

ldquoAt this point Irsquom in the paperwork stage

of things A lot of reading the HenryVI s biographies of Richard as well asperformance history of the play itself Irsquomdoing a fair amount of limping around myapartment as well I canrsquot wait to get intorehearsals next weekrdquo Tell us about Marin Shakespeare

Company and what appealed to you

about working with them

ldquoRobert and Lesley [Currier MSCrsquos Artistic

Director and Managing Director] arefascinating people Their intelligence andhumour is contagious Without questionthere is a lot to be learned from themrdquo Richard IIIrsquos remains were discovered

in 2012 and reburied this year Is all

the new information about Richard

influencing your portrayal

ldquoYes and no My job isnrsquot to play the historicalRichard but the Richard that Shakespeare has

Aidan believesthat Richard IIIrsquosobsession withcontrol is whatcauses his downfall

ldquoPeter OrsquoToole wasmy hero He went to

RADA so I wanted to go there toordquo

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Crowning gloryAidan with MarinShakespearersquosRobert Currier

created Itrsquos helpful to know the facts of thesituation in order to gain insight into whathas been changed in Shakespearersquos versionof events

ldquoI met with a friend of mine who is a

retired surgeon who walked me through themedical information that has come to lighton Richardrsquos body and I will certainly usethat to inform my physical choicesrdquo Unlike many actors yoursquore the right

age to play the historical Richard III

Do you feel Richardrsquos relative youth

has been overlooked

ldquoI do Richard is a young man who believeshe is hardened by the experiences he andhis family endured during the War of theRoses and believes himself to be beyondhuman emotions and the lsquorestrictionsrsquo of aconscience He isnrsquot He pays the bill for thehorrible things he does That lack of self-knowledge is not exclusive to youth but I feelit makes him more sympathetic and relatableto an audiencerdquo Some people think Richard III shows

Shakespeare delivering a highly

effective piece of Tudor propaganda

Where do you stand on thatldquoI think Shakespeare has a soft spot foroutsiders and underdogs Although his playssometimes work within the confines of thebiases of Elizabethan society he canrsquot help butmake his lsquovillainsrsquo fascinating human beings

For as horrible as Richard is itrsquos amazing tosee how audiences relate and respond to himrdquo Which other important themes do

you feel Shakespeare deals with in

the playldquoThe history plays are full of extraordinarypeople who waste their lives and intelligence who sacrifice their humanity in pursuit of thecrown Itrsquos still happening today What is theattraction of power Richard never pauses tothink of why he wants the crown or if hersquodbe any good as king Turns out hersquos not butitrsquos this bizarre obsession with control thatpropels him to kill everyone off thatrsquos in his way Itrsquos also fascinating that the one characterthat is consistently kind to Richard is hisfather York

ldquoI think an argument can be made thatRichard in his warped way is trying to liveup to the image he has of his father Ofcourse York is dead and gone by the timeRichard III begins but you can glean a lotabout Richardrsquos inner workings in the way hespeaks about his father Of course itrsquos foolishto try to answer questions that Shakespearedoesnrsquot and Irsquom not trying to say this solvesa mystery but I think itrsquos interesting Itrsquos only

an element itrsquos not the answerrdquo Richard III is listed as a historical

play in the First Folio but in the

quarto edition it is termed a tragedy

Which category would you put the

play in and why

ldquoI think of the history plays from Richard II to Richard III as one vast play an epic thatencompasses all the categories I think if youlook at Richardrsquos progression through those

plays you see a great mind warped by the War of the Roses and that certainly adds tothe tragic element I think of Richard III asthe final chapter of a great epicrdquo

Aidan OrsquoReilly stars in Marin ShakespeareCompanyrsquos Richard III from 4-27 September

Aidan OrsquoReilly

SHAKESPEARE magazine 37

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Scotland Shakes

SHAKESPEARE magazine 39

Bonnie Prince

Brian Fergusonas Hamlet in theCitizens Theatre

production Photoby Tim Morozzo

Billy William Shakespeare is undoubtedly Englandrsquos

Bard But how is he viewed north of the border

Our Caledonian correspondent surveys the state

of Shakespeare in Scotland and meets esteemed

outdoor theatre company Bard in the Botanics

Words Paul F Cockburn

T owards the end of May thisyear a BBC Scotland afternoon

news bulletin surprisinglyturned its attention to aforthcoming production of

ldquoone of William Shakespearersquos best lovedplaysrdquo ndash A Midsummer Nightrsquos DreamHowever this particular production wasnrsquotconsidered newsworthy because it came froman amateur group based in Dumfries andGalloway Not even that the CrossmichaelDrama Club were one of just seven amateurScottish groups taking part in the Royal

Shakespeare Companyrsquos Open Stages project which aims to help amateur companies

extend their repertoiresNo the lsquohookrsquo was how this newproduction was Shakespeare ldquobut no asyou micht ken itrdquo Because it had beenreimagined in Scots as A MidsimmerNichtrsquos Dreme

As it happens writer John Burns saysthat his principle reason for translating AMidsimmer Nichtrsquos Dreme was simply theintuition that it being in Scots would workto the benefit of the production ldquoItrsquos not

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Scotland Shakes

40 SHAKESPEARE magazine

so much that 16th century English canrsquot docertain things more that using Scots brings itcloser to a Scottish audience and to audiences who might think Shakespeare too fancyrdquo hesays ldquoI feel too that Scots can catch the sheerphysical power of Shakespearersquos language He writes lines you really feel physically when

you say them out loud My intention was touse Scots to produce a text that was actableand which would be accessible and enjoyablefor the audience and the Scots was a majorpart of thatrdquo

Arguably translating Shakespeare intoScots ndash viewed by many as a distinct languagefrom English ndash is just one way of finding thecontinued relevancies of Shakespearersquos writing with the here and now Certainly John Burns was keen to see if Scots ldquocould match the way

Shakespeare switches tonehellip from broad attimes bawdy humour to moments that aremore serious or even sinisterrdquo

Yet there is a wider perspective whether wersquore discussing translation into Scots orsaying Shakespearersquos words with a Scottishaccent Willy Maley and Andrew Murphyin their introduction to Shakespeare andScotland (published by Manchester UniversityPress in 2004) go as far as describing thetranslation of Shakespearersquos Macbeth into

Scots as ldquoa patriotic actrdquo not least becauseof ldquothe political commitment implicit intranslating from English to Scots reversing

the dominant dubbing practice infi

lmsrdquoGlasgow-based novelist and playwright Alan Bissett ndash who actively campaigned fora Yes vote during last yearrsquos IndependenceReferendum ndash has since written about howsince the 1970s Scottish theatre had ldquoadeep engagement with the shifting beastof Scottish politicsrdquo Although Bissett wasfocusing primarily on original works byScottish playwrights and directors itrsquos worthpointing out that Shakespeare ndash despite therebeing absolutely no evidence to prove he evertravelled north of Carlisle ndash has played hisown part in this

As Maley and Murphy point outldquoScotlandhellip never had precisely the samerelationship with the Bard as England hasbut has experienced a fraught process ofappropriation incorporation and resistancerdquoIn part this is because Shakespeare ndash in hislatter career ndash was among the first lsquoBritishrsquo writers Many of his later plays ndash Cymbeline King Lear even Hamlet ndash were produced

A tartan-cladAntipholus andDromio in Bard inthe Botanicsrsquo TheComedy of Errors

Brian FergusonrsquosHamlet CitizensTheatre productionPhoto by TimMorozzo

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under the patronage of Scotlandrsquos King JamesVI (aka James I of England) Each in theirown way can be said to touch on ldquothe matterof Britainrdquo the complex relationship between

the constituent elements of Jamesrsquos newlsquounitedrsquo kingdom which the Stuart monarch was determined to see joined into oneat never quite happened of course

Even after the 1707 Act of UnionScotland retained its own legal educationaland religious systems along with anaccompanying sense of Scottish identity ndash which survived even the height of the Britishempire Yet from the 1970s on there havebeen notable changes in how Shakespeareis treated by Scotlandrsquos producing theatrecompanies Several years ago GlasgowrsquosCitizenseatre delivered a powerful Romeoand Juliet in part because of their decision toset the action in a present-day sectarian Westof Scotland ndash with accents to match

ldquoEnglish-accented Shakespeare carriesa specific resonance in Scotland one thatdirectors usually choose to avoidrdquo pointsout Mark Fisher a freelance journalist criticand author of the forthcoming book How toWrite Abouteatre

ldquoIrsquom not sure exactly when attitudesstarted to change but Irsquod say the argumentin favour of Scottish-accented productionshad been pretty much won by the 1990sBy that time companies such as Raindogand directors such as Hamish Glen hadbeen making a point of casting very Scottishproductions of Shakespearerdquo

One example of how things hadprogressed even by 1992 was the late KennyIrelandrsquos production of A Midsummer

Nightrsquos Dream his first as Artistic Directorat Edinburghrsquos Royal Lyceum ldquoHe castthe mechanicals with Scottish accents andeveryone else with English accentsrdquo MarkFisher explains ldquois I said in my review wasa fundamental error ndash or some such phrasee message it sent out was that people withScottish accents were foolish figures of fun whereas people with English accents wereserious figures of respect

ldquoIreland reacted furiously to my review

and made the case that he had based thecasting of the mechanicals around (the actor) Andy Gray who has a Scottish accent Inother words the meaning I inferred hadnot been deliberate I think itrsquos true to sayhowever that Ireland never cast a Shakespearelike that againrdquo

Gordon Barr is Artistic Director of

Glasgow-based Bard in the BotanicsScotlandrsquos only professional Shakespearecompany (see following pages)

ldquoWersquove never gone out of our way tomake Scottish versions of these texts norhave we gone out of our way to have classicaltraditional voicesrdquo he says ldquoMost of our coreactors have made their careers up here so wethink of them as Scottish actors

ldquoat is important to us to not overlylook outwards for the acting company As

much as possible we work with people who are based in Scotland Wersquore regularlyproducing Shakespeare here and we want tobe a part of the training to ensure that there isa range of strong classical actors hererdquo

Citizens Theatrewwwcitzcouk

Owen Whitehawas the Fool andDavid Hayman asLear in CitizensTheatrersquos King Lear Photo by TimMorozzo

Scotland Shakes

SHAKESPEARE magazine 41

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Bard in theBotanicsrsquo As You Like

It takes Rosalind andOrlando into theopen air

ldquoTouring is something that we have wanted to do foryears but was somethingthat we could not afford

to do without fundingrdquo says Gordon Barr Artistic Director of Scotlandrsquos only professionaloutdoor Shakespeare festival Bard in theBotanics If therersquos any irony attached tothe companyrsquos first major tour of Scotland which took place in early 2015 itrsquos that theperformances of their acclaimed Romeo and Juliet ndash featuring a cast of five ndash were playedexclusively indoors

ldquoNobody is touring classical theatre in

Scotland at the minute so itrsquos importantto usrdquo Barr adds ldquoOur work is so muchabout accessibility One of the joys of beingoutdoors is that people come to see the work who wouldnrsquot buy a ticket for a theatre Ifyou can bring a picnic sit out on the grass while watching the show it feels easier moreaccessible But people canrsquot come from Thursoto Glasgow for a night just to see a productionof Shakespeare They should be able to see itin Thurso So that is kind of where the urge totour came fromrdquo

Bard in the Botanics has presented outdoorShakespeare within the grounds of GlasgowrsquosBotanic Gardens since 2003 This yearrsquoslsquoUnlikely Wondersrsquo season presented newproductions of Loversquos Labourrsquos Lost The Merchant of Venice Richard II and A Midsummer Nightrsquos Dream in lsquoreprsquo between24 June and 1 August

The companyrsquos founder Scott PalmerBarr explains had done a lot of his training atthe Oregon Shakespeare Festival one of the

biggest in North America ldquoWith the kindof drive and enthusiasm that only Americanshave he managed to convince the entire cityof Glasgow that outdoor Shakespeare would work and that the weather wasnrsquot going to be

a problemrdquoTwo years later Palmer moved on and Barr

ndash originally involved as a director ndash succeededhim as Artistic Director ldquoIf anyone then hadsaid that I would end up spending 12 yearsrunning an outdoor Shakespeare festival I wouldnrsquot have believed themrdquo he says in hisoffice hidden behind some of the Botanicsrsquogardening sheds ldquoI very quickly fell in love with it once I started working here Despiteall the trials and tribulations that outdoortheatre in Scotland brings with it therersquos just

something magical and special about it Itrsquos a very close-knit company and thatrsquos sort of keptus all here as long as we have beenrdquo

While the annual summer season ofShakespeare plays in the Botanics will remainat the centre of what the company does ndashldquoOtherwise Bard in the Botanics becomesa rather strange namerdquo ndash Barr is very much

Outof theGarden

This year has seen Glasgowrsquos Bard in the Botanicsdo something completely unexpected They wentout on a tour of ndash whisper it ndash indoor venueshellip

Scotland Shakes

42 SHAKESPEARE magazine

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Scotland Shakes

SHAKESPEARE magazine 43

focused on building on the touring side ldquoBecause it was our first ever tour we

did end up taking Romeo and Juliet to theestablished Scottish touring circuitrdquo he addsldquoIt takes a while to build up relationships with the smaller venues thatrsquos going to bean ongoing process for us Even so we weretaking Romeo and Juliet to places like Mulland Stranraer ndash communities and venues thathavenrsquot had a lot of classical theatre comingthrough themrdquo

The choice of play was deliberate too ldquoIt was a production that was ready to go whichhad received five star reviews and sold out itsextended run in the Botanics in 2012 So weknew that the work was good but therersquos nodoubt that for a first tour we wanted to makeit easier for the venues to sell it Most venuesknow they can find an audience for Romeo and Juliet rdquo

In time he hopes that audiences aroundthe rest of Scotland will come to trust the Bardin the Botanics name sufficiently to take on theless familiar plays

ldquoYou just donrsquot know how quickly acommunity is going to turn out for Henry IV yetrdquo he says ldquoHopefully three or four toursdown the line theyrsquore going to turn out forBard in the Botanics ndash and if it happens to be

Henry IV well thatrsquos greatrdquoGiven their reimagining of A MidsummerNightrsquos Dream as a 1920s burlesque musicalis there a particular Bard in the Botanicsapproach to Shakespeare

ldquoOur kind of unofficial motto is lsquoBe BoldBe Braversquordquo Barr says ldquoIf wersquore continuingto stage these plays around 400 years afterShakespearersquos death I think therersquos an urgencyto ask lsquoWhyrsquo It is important to questionlsquoWhat is the story that we want to tellrsquo I wantto see how these plays intersect with historyand todayrsquos society not to present museumpieces

ldquoItrsquos always with an eye to try to releasesomething thatrsquos within the textrdquo Barrinsists ldquoWersquore not remotely interested ininnovation for innovationrsquos sake The playsare masterpieces thatrsquos essentially why wersquorestill doing them 400 years later But to revealsomething thatrsquos unexpected or new thatrsquosimportant to usrdquo

Bard in the Botanics

wwwbardinthebotanicscouk

Rosalind and Audreyin the forest Bardin the Botanicsrsquo As You Like It

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Shakespeare at the Tobacco Factory stf 2016 Seasonco-production with Tobacco Factory Theatres

HAMLETBy William Shakespeare

Directed by Andrew Hilton

Main run Thu 11 February ndash Sat 26 March 2016

In repertoire with Allrsquos Well That Ends WellMon 25 ndash Wed 27 April Sat 30 April 2016

The most famous play in world drama Hamlet

turns a new face to every decade So many

elements - political madness sex murder ndash all

brought together in a drama that is both a thriller

and the profoundest meditation on our human

condition

ldquoThrilling workrdquo The Guardian on Romeo amp Juliet

ldquoBullseyerdquo WhatsOnStage on Romeo amp Juliet

Shakespeare at the Tobacco Factory Friends Priority Booking opens Wed 23 September 10am

wwwstf-theatreorguk

Tobacco Factory Theatres Members Priority Booking opens Wed 16 September 10am

wwwtobaccofactorytheatrescom

Public Booking opens Wed 30 September 10am

Tobacco Factory Box Office 0117 902 0344

ALLrsquoS WELL THAT ENDS WELLBy William Shakespeare

Directed by Andrew Hilton

Main run Thu 31 March ndash Sat 23 April 2016

In repertoire with Hamlet

Thu 28 ndash Fri 29 April Sat 30 April

A young woman using skills bequeathed herby her father saves the French Kingrsquos life and

is rewarded with the right to choose her own

husband But what if the chosen one wonrsquot play

the game How can she get him into bed How

can she make him love her

ldquo There is something approaching real

magic hererdquo The Arts Desk on The School for Scandal

P h o t o s M

a r k D o u e t

Dorothea MyerBennett in Richard III

Benjamin Whitrowand Julia Hills in The

School For Scandal

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Having conquered

Hollywood and vanquished

the global entertainment

industry video games now

on our culture So where

does the Bard stand in all of

this We sent a Shakespeare

scholar to investigatehellip

Words Andrew Bretz

Shakespeare video games

46 SHAKESPEARE magazine

T eGamersquos A oot Silent Hill is one

big-name gamewhich includesShakespearereferences

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Shakespeare video games

SHAKESPEARE magazine 47

German cardboard Macbeth datingfrom the early1800s

Hamlet reimaginedRyan Northrsquos To Be

Or Not To Be

W

hen you walk intothe wood panelled Victorian Gothicismof the Gail Kern Paster

Reading Room at theFolger Shakespeare Library in WashingtonDC video games are probably the lastthing on your mind Buried deep withinthe archives however are a set of fragilecardboard figures printed in Germany in theearly 1800s representing each of the maincharacters of Macbeth

Nineteenth century German children would play with these figures on smallcardboard stages no bigger than a dollhouseey could replicate the story as it was toldin Shakespeare or use their imagination tochange the ending letting Lady Macbethsurvive and bringing Duncan back from thedead if they so chosee limits of the game were the limits of their imagination

Today the lsquogamificationrsquo of Shakespeareis a big business from Ryan Northrsquos choose-your-own-adventure edition of Hamlet To Be Or Not To Be to IDW Gamesrsquosupcoming Kill Shakespeare board gamebased on the comic of the same name

Gamifying Shakespeare is filtering intoschools libraries and the theatrical worldas well with the University of California atDavis the Stratford Festival in Ontario theGlobeeatre in London and the LondonMetropolitan Archives all experimenting with video game elements in exhibits productionsand research

Why video games In a sense this is thelogical next step in the media development ofShakespeare Hersquos everywhere in other media

books movies merchandise But videogamese answer for that depends on whoyou ask

StorytellingOccasionally individuals or publishinghouses develop video games that try to tellthe story of say Hamlet yet this is relativelyrare One example would be Elsinore a time-looping narrative adventure game set in the world of the play Players play the game as

Ophelia who wakes up knowing that in fourdays the entire court will be dead and shemust do something to stop ite problemis that she is stuck in a time loop reliving thesame four days over and over againat said Shakespearersquos presence in the

video game industry tends to be focused oncitation rather than adaptation of the playsat is video games for Xbox Playstationand other popular gaming systems often

just cite Shakespearersquos plays as a part of acommon cultural heritageese games donrsquotrestage say Hamlet but they quote the playIn these cases Shakespeare is used to establisha point of identification for the audience His writing tells the audience something aboutthe character or the situation

Given that audiences are supposedto be able to identify the quotations asShakespearean it is unsurprising that Hamlet is the most popular text for game designers to

cite Ine Elder Scrolls Online for instancea merchant NPC (non-player character)quotes Polonius when players interact sayingldquoNeither a borrower nor a lender berdquoe words establish the NPCrsquos role as a merchant while fitting the medieval world of thegame In the game LA Noire upon pickingup a fake shrunken head at a crime scene adetective leaps into high melodrama withldquoAlas poor Yorick I knew him Horatiordquoequotation and the clever voice acting establish

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Shakespeare video games

48 SHAKESPEARE magazine

the characterrsquos strait-laced yet macabre senseof humour

Sometimes citing Shakespeare is a partof a critique of a larger theme In the game Mass E ff ect the Elcor are a race of elephantinealiens who preface all statements with adescription of the emotion they are feelingand who speak in a slow monotonous drone As players interact with the expansive worldthey can discover a number of advertisementsfor an all-Elcor Hamlet e idea of theElcor actor ndash the ultimate in a flat woodenperformer ndash having to preface ldquoTo be or not

to berdquo with ldquomorose ruminationrdquo goes beyondthe simple humour of a bad Shakespeareperformance It subtly asks what it is aboutacting (and especially voice acting) that isvaluable

Shakespeare can appear in video gamesnot merely as a marker or contextualisationtool but as a part of a puzzle For example inthe game Silent Hill 3 players must arrange aset of Shakespeare anthologies on a bookshelfin an abandoned shopping mall in order to

proceed in the game At the hardest levelthe puzzle clue takes the form of a poemthat references all the major tragedies Romeoand Juliet King Lear Macbeth Othello andof course Hamlet e bloody nature of thetragedies fits with the bloody nature of theSilent Hill series of games which fall into thesurvival horror genre

Popular video games have also servedas the inspiration for games that engage with Shakespeare in a more direct way For

example Daniel Fischlin at the Universityof Guelph in Ontario Canada led a teamthat created a Flash game called rsquoSpeare Itrsquos

a scrolling arcade-style game suggesting thersquo80s hit Galaga which sees players identifyingand navigating through a series of enemies who turn into words upon being destroyede player progresses through the levelsby collecting the correct words to createShakespearean quotes learning Shakespeareantrivia along the way

ImmersionOne of the most exciting aspects of videogames is the ability to immerse the player inthe world of the game in a way that othermedia simply cannot do Being able to walkaround Prosperorsquos cell Julietrsquos balcony orto stand before the ghost of Hamletrsquos fatheras he cries out ldquoList list O listrdquo ndash theseexperiences are made possible through videogame technology

Students of Scenic Arts at the Universityof Hildesheim in Germany created Projekt ARIEL or SturmMOD in 2008 using a lsquomodrsquo(or modification) to the engine that runs

the game Far Cry 1 e performance artproject allowed users to experience Prosperorsquosisland interacting with certain parts andexploring others Players could walk aroundan imaginative rendition of Prosperorsquos cell and witness or interact with elements of the playincluding diff erent characters like CalibanProspero and Miranda

Four days to savethe Danish court

Elsinore

Another Hamlet reference this timein LA Noire

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Shakespeare video games

SHAKESPEARE magazine 49

Gina Bloom at the University of Californiaat Davis is presently spearheading a projectthat will be demonstrated in the lobby of theStratford Festival theatre in Ontario Canadathis summere project Play the Knave AShakespeare Performance Videogame lets usersdesign a virtual performance space and thenperform a scene from a Shakespeare playinhabiting this constructed space with anavatar As a Davis insider explains ldquoWe use akinect motion capture camera to capture theuserrsquos skeletal data so that players use theirentire bodies to control their avatarrsquos gesturesonscreen all the while reciting the lines from

Shakespearersquos scenerdquo is literally immersesthe players in the scene

Shakespearersquos Globe eatre in Londontook another tactic regarding immersionin the production of the game HemmingsrsquoPlay Company Hosted on the Playgroundportion of the Globersquos website and thusaimed at an audience of children the gamehas players taking on the role of Hemmingsan Elizabethan bear who leads a troupe oftheatrical animals such as Kit the Cat Dekker

the Dog and Slye the Foxe turn-based game leads players through

the vagaries of Elizabethan theatre practicefrom patronage to lost props and the plagueBy the end of the game players must earnenough money to rebuild the Globe after itburns down during a performance of HenryVIII

Also from Shakespearersquos Globe are twoinnovative video experiences created forchildren aged five to 11 e first Exploring

Shakespeare features two boys on a tour ofthe Globe theatre who sneak off to explorebackstage e video illustrates four plays

using short animations that are keyedto things the boys find backstage etechnology combines live action film andanimation to create an interactive touchablegame Filled with mini-games quizzes andinteresting facts about Shakespeare the gameallows players to click through the narrativeor to stop and learn more as they go along

e second video called Staging It usesthe same technology as the first film but thistime is for the 11-16 age group In this gamee Globe has filmed two actors performingfamous duologues from A MidsummerNightrsquos Dream and Macbeth on the Globestage Rather than shoot it once the actorshave performed their lines in diff erent ways(happy flirtatious defensive and so on)creating several diff erent clips per linePlayers can watch each of the clips and addtheir choice to a dynamic storyboard tobuild up their final scene Impressively theplatform allows for up to 1000000 diff erentcombinations of clips

Apps and Mini-GamesItrsquos when you start to look outside of therealm of popular video game platformslike Xbox or Playstation that Shakespeare

Silent Hill 3 Brush upyour Shakespeare ifyou want to survive

Hemmingsrsquo PlayCompany fromShakespearersquosGlobe

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Shakespeare video games

50 SHAKESPEARE magazine

really starts to pop up wherever you looke ubiquity of Shakespeare is especiallynoticeable when you start to look at apps andmini-games designed for phones and tablets

In 2012 Big Fish Games released aniPhone and iPad game called Hamlet that featured all the main characters ofShakespearersquos play but transposed them intoa save-the-princess narrative puzzle game A time traveller lands in Denmark andaccidentally kills Hamlet and so players mustcomplete his journey for him saving Opheliaand killing Claudiuse Shakespeareancontent is minimal and heavily adapted andyet it fits with the puzzle format in whichShakespeare tends to be found in videogamese Chronicles of Shakespeare Romeo amp

Juliet ande Chronicles of Shakespeare A Midsummer Nightrsquos Dream are lusciously-illustrated puzzle games for the PC In themplayers act as one of the characters from theplays gathering items and clues through aShakespearean environment

Among the literally thousands of appsrelated to Shakespeare that can be found forthe iPad or Android tablet are

e Shakespearean Insult Creator which generates invectives drawn from a wholly Shakespearean vocabulary So nexttime you want to call someone a jerk trysomething more like ldquoou fusty follyfallenfustilarianrdquo

e Shakespeare Translator whichtranslates ldquonormal English words and phrasesinto the words of Shakespeare himselfrdquo

e Shakespeare Fortune Cookie which provides short quotes from the plays

and a small trivia game Shakespeare or Die a game that

scrambles the words of famous quotationsfrom the plays and asks you to identify theplay and character who spoke the line If youmake a mistake however beware the witchesese apps are either explicitly games or

they are coming out of a game-like impulse tomake Shakespeare more accessible to everyone with an internet connection

Brave New WorldsIn a world where Shakespeare is an industrycounted in the millions of dollars per yearit is so easy to forget that Shakespearersquos playsare just that ndash playsere is a sense of joyand fun and happiness embedded in theexperience of watching them Games are oneof the ways that people over the centuries

have tried to recapture that elusive sense ofplayfulness within Shakespeare So it makesperfect sense that now with the advent ofdigital technologies Shakespeare is movinginto the digital world with a vengeance

From big studio games likee ElderScrolls to small apps that can be downloadedfor free from talking bears to immersiveperformance experiences Shakespeare iseverywhere in video games Rather than beingan undiscovered country into which the Bard

is only just beginning to emerge games havein fact engaged with Shakespeare and his works for hundreds of years And they willprobably continue to do so for hundreds ofyears to come

rsquoSpeare is a scrollingarcade-stylegame with addedShakespeare trivia

Hamlet is aShakespeare-themed puzzle fromBig Fish Games

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Meet thy makers

Helen Mears fell into bardolatryduring her teenage years and has

never recovered She is a volunteersteward at Shakespearersquos Globe

which ensures a regular diet of theBard She teaches English Film andMedia at Suffolk New College and isa specialist in teaching Shakespeareusing active methods Her favouriteShakespearean actor is Jamie Parker

and her favourite plays are the SecondHistory Tetralogy She hopes to

finish her Masters in the AdvancedTeaching of Shakespeare very soonFind her on Twitter hipster_hels

Paul F Cockburn is an Edinburgh-based freelance magazine journalist who specialises in writing about

arts and culture equality issues andpopular science Hersquos sufficiently

grey-haired for his English Literaturetraining to have sort of overlapped

with The BBC Television Shakespeareproject saving at least some of the

plays from death by academiaFind him on Twitter paulfcockburn

Jen Richardson first fell in love withShakespeare as a 15-year-old schoolgirl

ldquoHe got under my skin and hersquos still theretodayrdquo After training with a Manchester-based drama tutor she went on to pursuean acting career Drama remains a greatinterest but her focus is now on sharing

her passion for Shakespeare throughher writing In her spare time Jen is

generally down in Stratford-upon-Avonsitting on her favourite bench behind

Holy Trinity ChurchFind her on Twitter The_JenJen

Andrew Bretz is a sessional instructorof English Literature and Drama

specialising in early modern dramaHe has taught at Wilfrid LaurierUniversity the University of Guelph

Brock University and McMasterUniversity For the past two years he

has taught a special summer intensiveat Ontariorsquos Stratford Festival His PhDdissertation was on the representationof sexual violence on the early modern

stage Find him on TwitterAndrewBretz001

Just some of the contributors to this issue of Shakespeare Magazine

Rosalind Lyons is a painter whohas exhibited widely in both mixedand solo shows with work in UK

and international private collections A life-long love of Shakespeare isreflected in many of her paintings

and a particular recent focus isShakespearersquos Globe theatre where shespent a period as artist-in-residenceShe is currently studying for a PhD

in Painting and ShakespeareanTheatre at Anglia Ruskin University

in CambridgeFind her on Twitter roslyons

52 SHAKESPEARE magazine

Contributors

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Page 20: Shakespeare Magazine 08

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20 SHAKESPEARE magazine

through the Shakespeare Centre on the left-hand side of the Birthplace A short exhibitionshows you items such as a prized First Folioand the foot of Stratfordrsquos Old Market Cross

from where glover John Shakespeare wouldhave sold his wares A walk through the gardens leads to

the house itself You enter through theself-contained annexe where William and Anne Shakespeare spent the first years oftheir married life and where their childrenSusannah Judith and Hamnet were born eannexe was later occupied by Williamrsquos sister Joan You can walk through the parlour andthe dining room to Johnrsquos workshop where heproduced gloves and other leather goods

A staircase leads to two bedrooms onefor the girls one for the boys and a loft spaceis visible where the apprentices would haveslept Finally you reach the birth room themain bedroom in which William and his sevensiblings were born

Guides are on-hand in all rooms to tell youtheir history and other gems of informationComplete your visit by watching classicShakespearean speeches performed in thegarden by resident acting troupe Shakespeare

Aloud and then picking up some souvenirs inthe gift shop and excellent bookshop

e five house ticket is the best value givingyou entry to all of the properties (HarvardHouse is a current alternative to New Place)and allowing you to view Shakespearersquos Gravein Holy Trinity Church

The Avon and Boat trips A walk along the Avon is a must in any seasone gentle stroll from the RSC to Holy Trinity

Church will take you past drooping willowssmoothly sailing swans and green parklandFor a diff erent perspective on the town you cantake a boat trip along the river itself Startingfrom near the RSCeatre you cruise gentlydown to the church where Shakespeare wasbaptised and buried before turning back andheading past the theatre and under CloptonBridge Itrsquos a bridge that William himself would have known built as it was around1480 e Avon is very pretty everywhere

you look are the incredible tame (and alwayshungry) swans and picturesque houseboatse banks are lined with weeping willows that just might have been the inspiration for poorOpheliarsquos watery end in Hamlet If you wouldrather take a slower self-driven trip there arerowing boats canoes and small speedboatsfor hire Beware though these are not aseasy to control as they look and you may wellspend a good proportion of your allottedtime relearning how to row and avoiding

Stratford-upon-Avon

The birth roomat ShakespearersquosBirthplace

Molly fromShakespeare Aloudin the Birthplacegarden

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SHAKESPEARE magazine 21

other hapless river tra ffic Boat trips typicallylast for around 40 minutes and are especiallypleasant in the late afternoon when the sun setsslowly behind the church steeple For addedluxury you can take a restaurant cruise where

afternoon tea or an evening meal are served onboard or as a quicker cheaper alternative youcould take the chain ferry across the Avoneferry dates from 1937 and is the last of its kindin the UK

Nash House and New Place

As well as the Henley Street property theShakespeare Birthplace Trust care for fourother locations in and around Stratford allassociated with Williamrsquos family Nash House

and New Place were adjoining propertieseformer was the home of Judith Shakespeareand her husband while the latter was thefamily home that William purchased in 1597at the time the second most expensive housein the town Sadly it was demolished by asubsequent owner but the Trust are currentlyundertaking a massive renovation of the siteis means that the properties will not be opento the public until 2016 to coincide with the400th anniversary of Shakespearersquos death

Hallrsquos Croft

A brief walk from New Place will take youto Hallrsquos Croft the home of SusannahShakespeare and her husband the physician John Hallis is an interesting property in its

own right and is partly set up to show how apractising physician would have worked at thetime A special mention too must goe Arterthe award winning independent craft shopadjoining the building and to the beautifulgarden in which open air performances ofShakespearersquos plays are sometimes performed

Stratford-upon-Avon

Holy TrinityChurch viewedfrom the Avon

Nash House andNew Place

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22 SHAKESPEARE magazine

Anne Hathawayrsquos Cottage A short distance from Stratford is Shottery where you can find the beautiful cottage

which was the home of the Hathaway familySet in yet another lovely garden this is thehouse in which Anne Hathaway grew upand was courted by the young William JohnShakespeare served with Anne Hathawayrsquosfather on the town council so their childrenprobably knew each other from a young agee family remained associated with thecottage for several centuries and have spunmany a yarn about the young lovers theveracity of which are highly questionable

However the stone floor of the kitchen isoriginal and we know that William must have walked those stones many many times

Mary Ardenrsquos Farme last of the Shakespeare properties is Mary Ardenrsquos Farm Shakespearersquos mother lived hereand itrsquos where she probably took the infant William when plague broke out in Stratfordshortly after his birth Open from March toNovember only the farm is run as a working

Tudor farm with costumed guides caring forthe buildings and the animals Itrsquos a great placefor a family day out with plenty to see and doand numerous activities runningere are

daily falconry shows archery animals to feedand games to play You can even treat yourselfto a genuine Tudor meal in the cafe ndash pottageand home-baked breads are a speciality

What if you donrsquot have a care town itself is fairly small and all themain attractions are within walking distanceHowever the easiest way to get around and toenable a visit to Anne Hathawayrsquos Cottage andMary Ardenrsquos farm is to the Hop On-Hop Off City Sightseeing busis will take you to allthe main town locations and also to Shotteryand Wilmcote A day ticket will give youunlimited access to the buses and allow you tovisit all of the Shakespeare properties e buscan be picked up by the statue of Touchstonethe jester at the top end of Henley Street

Walking Tours Another excellent way to see the main sites ofStratford and to learn some of the historicaltales of the town is to take a walking tour

Stratford-upon-Avon

Anne HathawayrsquosCottage

Mary Ardenrsquos Farm

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ere are several options depending on thetype of tour yoursquod likee town guides runhistorical tours of the town every day (yesevery day) of the year For those who like to be

a bit more daring there are evening ghost walksled by costumed guides who will tell you someof the spooky tales of Stratford Both of thesetours start from the Swan Water Fountain onthe riverside

Or if you like the idea of being guidedby Shakespeare himself on a Saturday (andMonday to Saturday through the summerholidays) there are town walks led by the manhimself (or someone who looks an awful lotlike him)ese run from Tudor World onSheep Street an interesting museum in thehouse that belonged to the man who wasallegedly the model for Sir John Falsta ff

Holy Trinity Church Another must-see is the townrsquos 13th centurychurch with its distinctive spire that dominatesthe view from the river Remember that if youhave a ticket to the Birthplace properties yourvisit to the grave is free e church is famousfor being where William Shakespeare wasbaptised on 26 April 1564 e old font that

was used for the baptism is displayed in thechancel along with copies of both the registerof baptism for April 1564 and the register ofburials for April 1616 where Shakespearersquosname can be clearly seen Also in the chancelin front of the altar are the Shakespeare familygraves Williamrsquos bears its infamous curse

ldquoGOOD FRIEND FOR JESUSSAKE FOREBEAR

TO DIGG THE DVST

ENCLOSED HEREBLESTE BE YE MAN YT SPARESTHESE STONES

AND CURSED BE HE YT MOVESMY BONESrdquo

On the wall above the grave is the effigy of

Shakespeare Itrsquos one of the few images which was produced within the lifetime of AnneShakespeare and probably one of the mostauthentic likenesses of her husband

The Guildhall and King EdwardrsquosSchoolDirectly opposite the site of New Place standthe Guildhall and the townrsquos old grammarschool Both of these places have links to theShakespeare family King Edwardrsquos Schoolis where the young William is believed tohave studied and itrsquos probably where hefirst encountered the classical texts which soinspired him As the son of a town councillorhe would have been entitled to a placee

old school is sometimes open to visitors at weekends or during the holidays but theschool has just won a lottery grant whichshould enable them to open it as a permanentattraction e Guildhall was sometimes hostto groups of travelling players and so it couldbe the site where young William first sawtheatrical performances It is widely believedthat John Shakespeare owing to his role astown bailiff was responsible for supervising the whitewashing of the medieval Doom Painting

Stratford-upon-Avon

SHAKESPEARE magazine 23

The GuildhallDoom Painting

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24 SHAKESPEARE magazine

Stratford-upon-Avon

is has been recovered and is now once againvisible above the chancel arch

The Royal Shakespeare CompanyTheatre and the riversidee riverside park is home to several interestingsights It is from here that you can get a view ofthe Clopton Bridge pick up a river cruise feedthe swans and admire the Gower Memoriale memorial was presented to the town in1888 and features a statue of Shakespeareseated upon a plinth overlooking statues offour of his best known charactersese areHamlet Prince Hal Sir John Falsta ff and Lady

Macbeth who represent Comedy HistoryPhilosophy and Tragedy Closer to the theatreis the beautiful Swan Water Fountain unveiledin 1996 If you see the water frothing fear notit seems to be a sport amongst local youngstersto fill the fountain with washing up liquid on aregular basis

e Royal Shakespeare Companyeatre was built in 1932 but has recently undergonea complete refurbishment in both the mainand the Swan theatres e building reopened

in 2010 with both theatres having beenconverted to boast thrust stages and curvedgalleries similar in shape to the originalElizabethan playhousese world renowned

Royal Shakespeare Company performshere throughout the year staging plays byShakespeare and his contemporaries as well asby newer authors ey also run an educationprogramme exhibitions family activitiesduring the school holidays and theatre toursTo see Stratford from an entirely diff erentangle take the lift up the 36 metre high towerfor spectacular views across the town

Where to eat and drinkStratford has an excellent range of eateriesto suit all tastes and budgets ere is pubgrub afternoon teas world cuisine finedining pizza pasta and fish and chips Manyrestaurants off er pre-theatre menus and ifyoursquove been on a town walk you may find thatyou can get discount vouchers for your foodere are many pubs in Stratford including theGarrick Inn the oldest pub in the town whereyou can taste the Shakesbeer specially brewedto celebrate Shakespearersquos 450th Birthday in2014 If you want to spot RSC cast members

relaxing after their showse Dirty Duck on Waterside is the place to drink

Where to stay Again Stratford-upon-Avon has a good varietyof hotels bed and breakfasts and holidayhomes All the main chains have hotels inthe town from budget brands to the luxurynamesere is an excellent choice of bedand breakfast establishments in and aroundthe town again these will suit all tastes and

budgets Airbnb also has an interesting rangeof rooms flats and houses to rent in StratfordHowever be sure to book early especially forthe prime summer months

The Shakespeare Birthplace Trustwwwshakespeareorguk

The GowerMemorial Will andPrince Hal

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M

any places around the worldhave been named afterStratford-upon-Avon thebirthplace and home of William

Shakespeare And many of those Stratfordsare home to theatre festivals of varying sizesStratford in the state of Victoria in Australiahas an annual Shakespeare festival still goingevery year while Stratford in Connecticut inthe USA had a major theatre from the mid1950s to the mid 1980s Stratford Ontarioin Canada however stands out among thesetowns and festivals not merely in scope but ininternational reputation and prestige

In 1950 Canada had no home-growntradition of classical theatre Certainly

Shakespeare was performed but there hadbeen a strong anti-theatrical movement inCanada throughout the 19th century whoseeffects still lingered throughout the first half ofthe 20th As a cultural icon Shakespeare wasedifying to be sure but certainly not to beperformed The Stratford Festival changed allof that for Canada

In the late 1940s the local newspapers andgovernment of the town conceived of the ideaof revitalising Stratfordrsquos sagging economy by

capitalising on the name of the town and its

long association with the Bard They bandedtogether and under the leadership of TomPatterson they brought over Tyrone Guthrieand Alec Guinness for the first season in1953 Guthrie had famously directed Gielgud

inHamlet

at Elsinore Castle in Denmarkand had been the manager of the Old Vic inLondon He wanted to create an acting spacethat echoed the original Globe theatre whereactors were surrounded by the audience incontrast to the proscenium arch theatres thatdominated the London and New York scenes

From the first performance which tookplace inside a giant circus-style tent on thebanks of the Avon River the festival workedto create a new aesthetic of Shakespeareanperformance The thrust stage of the FestivalTheatre designed by Tanya Moiseiwitschhas been recognised as one of the greatinnovations in stage design of the 20th centuryGenerations of actors have had to learn howto address an audience on three sides of themsometimes only an armrsquos length away

The festival has been central to the careersof Canadian actors such as ChristopherPlummer Martha Henry and even WilliamShatner Actors from the US and UK havesought to play the festival as well including

Peter Ustinov Christopher Walken and JessicaTandy Indeed these international stars notonly lend credibility but have indelibly markedthe festival For instance Maggie Smithrsquosperformance as Rosalind in As You Like It inthe 1977 and 1978 seasons is legendary in thecompany and the town

Today the festival has expanded to includemultiple performance spaces a theatre schooluniversity accredited courses and the largesttheatrical costume shop in North America

It has started countless careers inspiredcompanies such as Torontorsquos SoulpepperTheatre and helped shape the Canadiantheatre landscape for over 50 years

Stratford Festival ndash Ontario Canada

wwwstratfordfestivalca

MEANWHILE

IN CANADATherersquos more than just one Stratford you knowAnd the one in Ontario Canada has a world-renownedShakespeare Festival gives us a tour

Stratford Ontario

SHAKESPEARE magazine 25

ldquoFrom the fi rst performancethe Festival worked tocreate a new aesthetic ofShakespearean performancerdquo

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Planning to performa short selection

from Shakespeare

The 30-Minute Shakespeare

Anthology contains 18 abridged

scenes including monologues from

18 of Shakespearersquos best-known plays

Every scene features interpretive stage

directions and detailed performance

and monologue notes all ldquoroad testedrdquo

at the Folger Shakespeare Libraryrsquos

annual Student Shakespeare Festival

THE 30-MINUTE SHAKESPEARE is an acclaimed series of abridgments that tell the story of each play while keeping the beauty ofShakespearersquos language intacte scenes and monologues in this anthology have been selected with both teachers and students inmind providing a complete toolkit for an unforgettable performance audition or competition

NICK NEWLIN has performed a comedy and variety act for international audiences for more than 30 years Since 1996 he hasconducted an annual teaching artist residency with the Folger Shakespeare Library in Washington DC

The 30-Minute Shakespeare series is available in print and ebook format at retailersand as downloadable PDFs from 30MinuteShakespearecom

The 30-Minute Shakespeare Anthology

includes one scene with monologue

from each of these plays

ldquoLays the groundwork for a truly fun and sometimes magical

experience guided by a sagacious knowledgeable and intuitive

educator Newlin is a staunch advocate for students learning

Shakespeare through performancerdquo mdashLibrary Journal

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Roaslind Lyons

28 SHAKESPEARE magazine

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For UK artist Rosalind Lyons the Bard is a

constant presence in her creative life She tells

us how Shakespeare inspired the haunting and

dreamlike works that adorn these pages

Words and paintings by Rosalind Lyons

Rosalind Lyons

SHAKESPEARE magazine 29

Left TheRoaring Boys

PAINTINGSHAKESPEARE

S hakespeare has long been at the heart ofmy work sometimes directly and obviouslyin the subjects and often in the titlesBut always Shakespearersquos words charactersand stories are there in my head when Iam painting ndash a perpetual conscious andunconscious presence

My style echoes that of the Renaissancepainters and Elizabethan portraits andthese influences combined with a life-long love of Shakespeare made my firstvisit to Shakespearersquos Globe pivotal Iexperienced a powerful sense of connectionand recognition Here suddenly ideasand themes with which I had been so longpreoccupied were brought to life

I subsequently gained access to theGlobe to draw and later spent some time

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as Artist in Residence thereat experienceprompted more in-depth exploration notonly of Shakespeare and painting but of therelationship between painting and theatreere are of course the strong visualconnections ndash both are spaces for spectacleand illusion But also compelling ideas oftransformation imagination storytelling andidentity And overall the theme of ambiguitye blurring of boundaries between realityand fiction male and female light andshadow past and present I am fascinated byhow we respond to history how we re-presentand re-imagine the past And the figures inmy paintings are imagined as belonging toboth now and then ndash flitting back and forthacross the threshold between past and presentbetween Shakespearersquos time and our own

modern worldI have painted some specific characters

from Shakespeare but many subjects ofmy paintings are anonymouse figuresare unknown their place purpose role is amysteryis anonymity is unsettlingereare clues in the setting in the costumes ndash orperhaps I should just say in the clothes theyare wearing ndash but the context is not obviousI am fascinated by the dramatic convention ofcross-dressing ndash and particularly the inherent

confusion as with Rosalind ( As You Like It )and Viola (Twelfth Night ) in the idea of aboy playing a girl playing a boy Many of thecharacters I invent are androgynous theirgender and age uncertainis ambiguityof identity interests me in the context ofvisual illusion and theatrical transformationthe idea of inbetween-ness and somethingunresolved

Like theatre my paintings are concerned with inventing characters and the creation

Right No MoreYielding But A

Dream

Roaslind Lyons

30 SHAKESPEARE magazine

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of an imaginary world and I am particularlyattracted to the fools fairies and witchesIn A Midsummer Nightrsquos Dream the fairiesrsquoactions may seem malevolent or benign or just mischievous but there is definitely a dark

side an underlying sense of threate Fool too is intriguing Shakespearersquosfools frequently describe themselvesor are referred to as a nobody but areunquestionably much moree fool is anoutsider concerned with but at the same timeseparate from the story He ndash or sometimesshe ndash doesnrsquot quite belong anywhere butseems to exist on the boundary between thefamiliar and the uncanny

I am attracted to the strange to mysteryand shadows and try to express through myimages a strong feeling that it could be thator maybe something else As Orsino says atthe conclusion of Twelfth Night ldquoA naturalperspective that is and is notrdquo While makinga painting and even when it is finished Idonrsquot know really who my characters are ndashthey remain elusive But I like not knowingand ultimately meanings always change anddepend on individual perceptions

My experience at the Globe led to aparticular fascination with the ambiguous and

protean quality of the theatrical performerhow their identity transforms and fluctuatesI was attracted by this when watching

Rosalind Lyons

SHAKESPEARE magazine 31

Above A MidwinterNightrsquos Dream

Right Three Fools

Far right FollowingDarkness

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rehearsals observing actors shift between selfand impersonation between diff erent realitiesand identities When they are not acting theyndash metaphorically and often literally ndash melt

into the shadows I am interested too in thephysical and symbolic threshold between lsquoonrsquoand lsquooff rsquo-stage the transformation inherentin an actor moving from the wings onto thestage assuming another self and anotheridentity Particularly evocative is the fact thatactors were colloquially known as shadowsin the Elizabethan playhouses ndash suggestingsomething unknowable and insubstantialIn the Prologue to Henry V Shakespeare hasthe Chorus describe the players as lsquociphersrsquoimplying deception and secrecy

Artists in the past who have tackledShakespeare have generally produced imagesthat directly illustrate the text or representfamous actors or scenes from a particularperformance Today as well as on the stageShakespearersquos plays are frequently re-imaginedin very successful film and TV adaptationsbut I have struggled to find more than ahandful of contemporary fine artists whohave engaged with Shakespeare on any levelPerhaps Shakespeare as a subject is seen

by some as too traditional too lsquopopularrsquoor simply just too lsquooldrsquo But in the theatreand in literature there is an ever-increasingenthusiasm for innovative interpretationsof the plays and for me Shakespeare is aconstant inspiration

e Prologue of Henry V also urges theaudience to ldquoPiece out our imperfections withyour thoughtsrdquo to liberate the imaginationand create another kind of reality to shapeour own fantasies within the ldquowooden Ordquo of

the theatre In my paintings I endeavour todo the same

Explore the work of Rosalind Lyons atwwwrosalindlyonscom

Above These Two CreaturesBelow Therersquos Magic In Thy Majesty

Roaslind Lyons

32 SHAKESPEARE magazine

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$amp( ) +-01

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Aidan OrsquoReilly

34 SHAKESPEARE magazine

Looking forRichard AidanOrsquoReilly is playingShakespearersquosbaddest monarch

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Aidan OrsquoReilly

SHAKESPEARE magazine 35

You are legally blind having been

diagnosed with retinoblastoma as an

infant How did this impact on your

acting aspirations and early career

ldquoMy parents did a good job raising me Inever grew up thinking of it as a handicap orthinking it could hold me back from what I wanted to do I couldnrsquot play sports at all soI think my parents were grateful that I hadsomething that I was passionate about from avery young age

ldquoI went to a public elementary school with a program designed for the blind so itfelt very natural for me to be the way that I was And acting has always been part of thatrdquo

You went to RADA in London Was

there a reason why you wanted to

train in England and not in the US

ldquoItrsquos always been an ambition of mine to

travel as far and wide as possible Also myhero growing up was Peter OrsquoToole ndash Iread his autobiography in high school andlearned he had gone to RADA and decided I wanted to go there too So I auditioned therenot knowing that RADA is arguably thebest drama school in the English-speaking world Consequently I was quite relaxed atthe audition which is probably why I gotin My ignorance can sometimes serve me well Going to RADA was a life-changing

Aidan OrsquoReilly is an actor with an

inspiring story Legally blind since he

was six months old he forged a passionfor drama at an early age Aidan went

on to gain a BA with honours from

Londonrsquos Royal Academy of Dramatic

Art before touring for three years with

the American Shakespeare Center

In 2012 Aidan was diagnosed with

sarcoma a rare cancer He bounced

back in 2014 after intensive treatment

and is now cancer-free We spoke to

Aidan as he prepared to play the title

role in Richard III for Californiarsquos Marin

Shakespeare Company We asked himto share his story and to give us his

take on one of Shakespearersquos most

fascinating characters

Interview by Jen Richardson

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Aidan OrsquoReilly

36 SHAKESPEARE magazine

experience I was lucky enough to havecontact with brilliant professors and Irsquom stillin awe of the students I went to school withI wouldnrsquot trade that experience for anythingrdquo After graduating from RADA you

went on the road with the American

Shakespeare Center Tell us a bit

about that

ldquoThat was one of the happiest times of mylife In many ways I got spoiled I was a working actor 11 months out of the yeartouring nationally seeing parts of the USI had never been to before doing plays Iloved and working with directors who werevehemently faithful and respectful to the text When I wasnrsquot on the road I was in residenceat the Blackfriars Playhouse in StauntonVirginia with many extraordinary actorsI was very lucky to be thererdquo

Three years ago you were diagnosed

with sarcoma How did you

overcome this enormous challenge

and return to the stage in 2014

ldquoThe only reason Irsquom still alive is because ofmy mother Lily and my wife Jocelynn AlsoI was fortunate that we caught it before it hadspread and it was on my leg and away fromany major organs

ldquoI am very grateful for my team of doctorsat UCSF who did an incredible job in mytreatment and follow-up care Irsquom glad to beback to workrdquo Yoursquore now due to play Richard III

with Marin Shakespeare Company

Howrsquos it going so far

ldquoAt this point Irsquom in the paperwork stage

of things A lot of reading the HenryVI s biographies of Richard as well asperformance history of the play itself Irsquomdoing a fair amount of limping around myapartment as well I canrsquot wait to get intorehearsals next weekrdquo Tell us about Marin Shakespeare

Company and what appealed to you

about working with them

ldquoRobert and Lesley [Currier MSCrsquos Artistic

Director and Managing Director] arefascinating people Their intelligence andhumour is contagious Without questionthere is a lot to be learned from themrdquo Richard IIIrsquos remains were discovered

in 2012 and reburied this year Is all

the new information about Richard

influencing your portrayal

ldquoYes and no My job isnrsquot to play the historicalRichard but the Richard that Shakespeare has

Aidan believesthat Richard IIIrsquosobsession withcontrol is whatcauses his downfall

ldquoPeter OrsquoToole wasmy hero He went to

RADA so I wanted to go there toordquo

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Crowning gloryAidan with MarinShakespearersquosRobert Currier

created Itrsquos helpful to know the facts of thesituation in order to gain insight into whathas been changed in Shakespearersquos versionof events

ldquoI met with a friend of mine who is a

retired surgeon who walked me through themedical information that has come to lighton Richardrsquos body and I will certainly usethat to inform my physical choicesrdquo Unlike many actors yoursquore the right

age to play the historical Richard III

Do you feel Richardrsquos relative youth

has been overlooked

ldquoI do Richard is a young man who believeshe is hardened by the experiences he andhis family endured during the War of theRoses and believes himself to be beyondhuman emotions and the lsquorestrictionsrsquo of aconscience He isnrsquot He pays the bill for thehorrible things he does That lack of self-knowledge is not exclusive to youth but I feelit makes him more sympathetic and relatableto an audiencerdquo Some people think Richard III shows

Shakespeare delivering a highly

effective piece of Tudor propaganda

Where do you stand on thatldquoI think Shakespeare has a soft spot foroutsiders and underdogs Although his playssometimes work within the confines of thebiases of Elizabethan society he canrsquot help butmake his lsquovillainsrsquo fascinating human beings

For as horrible as Richard is itrsquos amazing tosee how audiences relate and respond to himrdquo Which other important themes do

you feel Shakespeare deals with in

the playldquoThe history plays are full of extraordinarypeople who waste their lives and intelligence who sacrifice their humanity in pursuit of thecrown Itrsquos still happening today What is theattraction of power Richard never pauses tothink of why he wants the crown or if hersquodbe any good as king Turns out hersquos not butitrsquos this bizarre obsession with control thatpropels him to kill everyone off thatrsquos in his way Itrsquos also fascinating that the one characterthat is consistently kind to Richard is hisfather York

ldquoI think an argument can be made thatRichard in his warped way is trying to liveup to the image he has of his father Ofcourse York is dead and gone by the timeRichard III begins but you can glean a lotabout Richardrsquos inner workings in the way hespeaks about his father Of course itrsquos foolishto try to answer questions that Shakespearedoesnrsquot and Irsquom not trying to say this solvesa mystery but I think itrsquos interesting Itrsquos only

an element itrsquos not the answerrdquo Richard III is listed as a historical

play in the First Folio but in the

quarto edition it is termed a tragedy

Which category would you put the

play in and why

ldquoI think of the history plays from Richard II to Richard III as one vast play an epic thatencompasses all the categories I think if youlook at Richardrsquos progression through those

plays you see a great mind warped by the War of the Roses and that certainly adds tothe tragic element I think of Richard III asthe final chapter of a great epicrdquo

Aidan OrsquoReilly stars in Marin ShakespeareCompanyrsquos Richard III from 4-27 September

Aidan OrsquoReilly

SHAKESPEARE magazine 37

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Scotland Shakes

SHAKESPEARE magazine 39

Bonnie Prince

Brian Fergusonas Hamlet in theCitizens Theatre

production Photoby Tim Morozzo

Billy William Shakespeare is undoubtedly Englandrsquos

Bard But how is he viewed north of the border

Our Caledonian correspondent surveys the state

of Shakespeare in Scotland and meets esteemed

outdoor theatre company Bard in the Botanics

Words Paul F Cockburn

T owards the end of May thisyear a BBC Scotland afternoon

news bulletin surprisinglyturned its attention to aforthcoming production of

ldquoone of William Shakespearersquos best lovedplaysrdquo ndash A Midsummer Nightrsquos DreamHowever this particular production wasnrsquotconsidered newsworthy because it came froman amateur group based in Dumfries andGalloway Not even that the CrossmichaelDrama Club were one of just seven amateurScottish groups taking part in the Royal

Shakespeare Companyrsquos Open Stages project which aims to help amateur companies

extend their repertoiresNo the lsquohookrsquo was how this newproduction was Shakespeare ldquobut no asyou micht ken itrdquo Because it had beenreimagined in Scots as A MidsimmerNichtrsquos Dreme

As it happens writer John Burns saysthat his principle reason for translating AMidsimmer Nichtrsquos Dreme was simply theintuition that it being in Scots would workto the benefit of the production ldquoItrsquos not

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Scotland Shakes

40 SHAKESPEARE magazine

so much that 16th century English canrsquot docertain things more that using Scots brings itcloser to a Scottish audience and to audiences who might think Shakespeare too fancyrdquo hesays ldquoI feel too that Scots can catch the sheerphysical power of Shakespearersquos language He writes lines you really feel physically when

you say them out loud My intention was touse Scots to produce a text that was actableand which would be accessible and enjoyablefor the audience and the Scots was a majorpart of thatrdquo

Arguably translating Shakespeare intoScots ndash viewed by many as a distinct languagefrom English ndash is just one way of finding thecontinued relevancies of Shakespearersquos writing with the here and now Certainly John Burns was keen to see if Scots ldquocould match the way

Shakespeare switches tonehellip from broad attimes bawdy humour to moments that aremore serious or even sinisterrdquo

Yet there is a wider perspective whether wersquore discussing translation into Scots orsaying Shakespearersquos words with a Scottishaccent Willy Maley and Andrew Murphyin their introduction to Shakespeare andScotland (published by Manchester UniversityPress in 2004) go as far as describing thetranslation of Shakespearersquos Macbeth into

Scots as ldquoa patriotic actrdquo not least becauseof ldquothe political commitment implicit intranslating from English to Scots reversing

the dominant dubbing practice infi

lmsrdquoGlasgow-based novelist and playwright Alan Bissett ndash who actively campaigned fora Yes vote during last yearrsquos IndependenceReferendum ndash has since written about howsince the 1970s Scottish theatre had ldquoadeep engagement with the shifting beastof Scottish politicsrdquo Although Bissett wasfocusing primarily on original works byScottish playwrights and directors itrsquos worthpointing out that Shakespeare ndash despite therebeing absolutely no evidence to prove he evertravelled north of Carlisle ndash has played hisown part in this

As Maley and Murphy point outldquoScotlandhellip never had precisely the samerelationship with the Bard as England hasbut has experienced a fraught process ofappropriation incorporation and resistancerdquoIn part this is because Shakespeare ndash in hislatter career ndash was among the first lsquoBritishrsquo writers Many of his later plays ndash Cymbeline King Lear even Hamlet ndash were produced

A tartan-cladAntipholus andDromio in Bard inthe Botanicsrsquo TheComedy of Errors

Brian FergusonrsquosHamlet CitizensTheatre productionPhoto by TimMorozzo

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under the patronage of Scotlandrsquos King JamesVI (aka James I of England) Each in theirown way can be said to touch on ldquothe matterof Britainrdquo the complex relationship between

the constituent elements of Jamesrsquos newlsquounitedrsquo kingdom which the Stuart monarch was determined to see joined into oneat never quite happened of course

Even after the 1707 Act of UnionScotland retained its own legal educationaland religious systems along with anaccompanying sense of Scottish identity ndash which survived even the height of the Britishempire Yet from the 1970s on there havebeen notable changes in how Shakespeareis treated by Scotlandrsquos producing theatrecompanies Several years ago GlasgowrsquosCitizenseatre delivered a powerful Romeoand Juliet in part because of their decision toset the action in a present-day sectarian Westof Scotland ndash with accents to match

ldquoEnglish-accented Shakespeare carriesa specific resonance in Scotland one thatdirectors usually choose to avoidrdquo pointsout Mark Fisher a freelance journalist criticand author of the forthcoming book How toWrite Abouteatre

ldquoIrsquom not sure exactly when attitudesstarted to change but Irsquod say the argumentin favour of Scottish-accented productionshad been pretty much won by the 1990sBy that time companies such as Raindogand directors such as Hamish Glen hadbeen making a point of casting very Scottishproductions of Shakespearerdquo

One example of how things hadprogressed even by 1992 was the late KennyIrelandrsquos production of A Midsummer

Nightrsquos Dream his first as Artistic Directorat Edinburghrsquos Royal Lyceum ldquoHe castthe mechanicals with Scottish accents andeveryone else with English accentsrdquo MarkFisher explains ldquois I said in my review wasa fundamental error ndash or some such phrasee message it sent out was that people withScottish accents were foolish figures of fun whereas people with English accents wereserious figures of respect

ldquoIreland reacted furiously to my review

and made the case that he had based thecasting of the mechanicals around (the actor) Andy Gray who has a Scottish accent Inother words the meaning I inferred hadnot been deliberate I think itrsquos true to sayhowever that Ireland never cast a Shakespearelike that againrdquo

Gordon Barr is Artistic Director of

Glasgow-based Bard in the BotanicsScotlandrsquos only professional Shakespearecompany (see following pages)

ldquoWersquove never gone out of our way tomake Scottish versions of these texts norhave we gone out of our way to have classicaltraditional voicesrdquo he says ldquoMost of our coreactors have made their careers up here so wethink of them as Scottish actors

ldquoat is important to us to not overlylook outwards for the acting company As

much as possible we work with people who are based in Scotland Wersquore regularlyproducing Shakespeare here and we want tobe a part of the training to ensure that there isa range of strong classical actors hererdquo

Citizens Theatrewwwcitzcouk

Owen Whitehawas the Fool andDavid Hayman asLear in CitizensTheatrersquos King Lear Photo by TimMorozzo

Scotland Shakes

SHAKESPEARE magazine 41

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Bard in theBotanicsrsquo As You Like

It takes Rosalind andOrlando into theopen air

ldquoTouring is something that we have wanted to do foryears but was somethingthat we could not afford

to do without fundingrdquo says Gordon Barr Artistic Director of Scotlandrsquos only professionaloutdoor Shakespeare festival Bard in theBotanics If therersquos any irony attached tothe companyrsquos first major tour of Scotland which took place in early 2015 itrsquos that theperformances of their acclaimed Romeo and Juliet ndash featuring a cast of five ndash were playedexclusively indoors

ldquoNobody is touring classical theatre in

Scotland at the minute so itrsquos importantto usrdquo Barr adds ldquoOur work is so muchabout accessibility One of the joys of beingoutdoors is that people come to see the work who wouldnrsquot buy a ticket for a theatre Ifyou can bring a picnic sit out on the grass while watching the show it feels easier moreaccessible But people canrsquot come from Thursoto Glasgow for a night just to see a productionof Shakespeare They should be able to see itin Thurso So that is kind of where the urge totour came fromrdquo

Bard in the Botanics has presented outdoorShakespeare within the grounds of GlasgowrsquosBotanic Gardens since 2003 This yearrsquoslsquoUnlikely Wondersrsquo season presented newproductions of Loversquos Labourrsquos Lost The Merchant of Venice Richard II and A Midsummer Nightrsquos Dream in lsquoreprsquo between24 June and 1 August

The companyrsquos founder Scott PalmerBarr explains had done a lot of his training atthe Oregon Shakespeare Festival one of the

biggest in North America ldquoWith the kindof drive and enthusiasm that only Americanshave he managed to convince the entire cityof Glasgow that outdoor Shakespeare would work and that the weather wasnrsquot going to be

a problemrdquoTwo years later Palmer moved on and Barr

ndash originally involved as a director ndash succeededhim as Artistic Director ldquoIf anyone then hadsaid that I would end up spending 12 yearsrunning an outdoor Shakespeare festival I wouldnrsquot have believed themrdquo he says in hisoffice hidden behind some of the Botanicsrsquogardening sheds ldquoI very quickly fell in love with it once I started working here Despiteall the trials and tribulations that outdoortheatre in Scotland brings with it therersquos just

something magical and special about it Itrsquos a very close-knit company and thatrsquos sort of keptus all here as long as we have beenrdquo

While the annual summer season ofShakespeare plays in the Botanics will remainat the centre of what the company does ndashldquoOtherwise Bard in the Botanics becomesa rather strange namerdquo ndash Barr is very much

Outof theGarden

This year has seen Glasgowrsquos Bard in the Botanicsdo something completely unexpected They wentout on a tour of ndash whisper it ndash indoor venueshellip

Scotland Shakes

42 SHAKESPEARE magazine

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Scotland Shakes

SHAKESPEARE magazine 43

focused on building on the touring side ldquoBecause it was our first ever tour we

did end up taking Romeo and Juliet to theestablished Scottish touring circuitrdquo he addsldquoIt takes a while to build up relationships with the smaller venues thatrsquos going to bean ongoing process for us Even so we weretaking Romeo and Juliet to places like Mulland Stranraer ndash communities and venues thathavenrsquot had a lot of classical theatre comingthrough themrdquo

The choice of play was deliberate too ldquoIt was a production that was ready to go whichhad received five star reviews and sold out itsextended run in the Botanics in 2012 So weknew that the work was good but therersquos nodoubt that for a first tour we wanted to makeit easier for the venues to sell it Most venuesknow they can find an audience for Romeo and Juliet rdquo

In time he hopes that audiences aroundthe rest of Scotland will come to trust the Bardin the Botanics name sufficiently to take on theless familiar plays

ldquoYou just donrsquot know how quickly acommunity is going to turn out for Henry IV yetrdquo he says ldquoHopefully three or four toursdown the line theyrsquore going to turn out forBard in the Botanics ndash and if it happens to be

Henry IV well thatrsquos greatrdquoGiven their reimagining of A MidsummerNightrsquos Dream as a 1920s burlesque musicalis there a particular Bard in the Botanicsapproach to Shakespeare

ldquoOur kind of unofficial motto is lsquoBe BoldBe Braversquordquo Barr says ldquoIf wersquore continuingto stage these plays around 400 years afterShakespearersquos death I think therersquos an urgencyto ask lsquoWhyrsquo It is important to questionlsquoWhat is the story that we want to tellrsquo I wantto see how these plays intersect with historyand todayrsquos society not to present museumpieces

ldquoItrsquos always with an eye to try to releasesomething thatrsquos within the textrdquo Barrinsists ldquoWersquore not remotely interested ininnovation for innovationrsquos sake The playsare masterpieces thatrsquos essentially why wersquorestill doing them 400 years later But to revealsomething thatrsquos unexpected or new thatrsquosimportant to usrdquo

Bard in the Botanics

wwwbardinthebotanicscouk

Rosalind and Audreyin the forest Bardin the Botanicsrsquo As You Like It

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Shakespeare at the Tobacco Factory stf 2016 Seasonco-production with Tobacco Factory Theatres

HAMLETBy William Shakespeare

Directed by Andrew Hilton

Main run Thu 11 February ndash Sat 26 March 2016

In repertoire with Allrsquos Well That Ends WellMon 25 ndash Wed 27 April Sat 30 April 2016

The most famous play in world drama Hamlet

turns a new face to every decade So many

elements - political madness sex murder ndash all

brought together in a drama that is both a thriller

and the profoundest meditation on our human

condition

ldquoThrilling workrdquo The Guardian on Romeo amp Juliet

ldquoBullseyerdquo WhatsOnStage on Romeo amp Juliet

Shakespeare at the Tobacco Factory Friends Priority Booking opens Wed 23 September 10am

wwwstf-theatreorguk

Tobacco Factory Theatres Members Priority Booking opens Wed 16 September 10am

wwwtobaccofactorytheatrescom

Public Booking opens Wed 30 September 10am

Tobacco Factory Box Office 0117 902 0344

ALLrsquoS WELL THAT ENDS WELLBy William Shakespeare

Directed by Andrew Hilton

Main run Thu 31 March ndash Sat 23 April 2016

In repertoire with Hamlet

Thu 28 ndash Fri 29 April Sat 30 April

A young woman using skills bequeathed herby her father saves the French Kingrsquos life and

is rewarded with the right to choose her own

husband But what if the chosen one wonrsquot play

the game How can she get him into bed How

can she make him love her

ldquo There is something approaching real

magic hererdquo The Arts Desk on The School for Scandal

P h o t o s M

a r k D o u e t

Dorothea MyerBennett in Richard III

Benjamin Whitrowand Julia Hills in The

School For Scandal

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Having conquered

Hollywood and vanquished

the global entertainment

industry video games now

on our culture So where

does the Bard stand in all of

this We sent a Shakespeare

scholar to investigatehellip

Words Andrew Bretz

Shakespeare video games

46 SHAKESPEARE magazine

T eGamersquos A oot Silent Hill is one

big-name gamewhich includesShakespearereferences

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Shakespeare video games

SHAKESPEARE magazine 47

German cardboard Macbeth datingfrom the early1800s

Hamlet reimaginedRyan Northrsquos To Be

Or Not To Be

W

hen you walk intothe wood panelled Victorian Gothicismof the Gail Kern Paster

Reading Room at theFolger Shakespeare Library in WashingtonDC video games are probably the lastthing on your mind Buried deep withinthe archives however are a set of fragilecardboard figures printed in Germany in theearly 1800s representing each of the maincharacters of Macbeth

Nineteenth century German children would play with these figures on smallcardboard stages no bigger than a dollhouseey could replicate the story as it was toldin Shakespeare or use their imagination tochange the ending letting Lady Macbethsurvive and bringing Duncan back from thedead if they so chosee limits of the game were the limits of their imagination

Today the lsquogamificationrsquo of Shakespeareis a big business from Ryan Northrsquos choose-your-own-adventure edition of Hamlet To Be Or Not To Be to IDW Gamesrsquosupcoming Kill Shakespeare board gamebased on the comic of the same name

Gamifying Shakespeare is filtering intoschools libraries and the theatrical worldas well with the University of California atDavis the Stratford Festival in Ontario theGlobeeatre in London and the LondonMetropolitan Archives all experimenting with video game elements in exhibits productionsand research

Why video games In a sense this is thelogical next step in the media development ofShakespeare Hersquos everywhere in other media

books movies merchandise But videogamese answer for that depends on whoyou ask

StorytellingOccasionally individuals or publishinghouses develop video games that try to tellthe story of say Hamlet yet this is relativelyrare One example would be Elsinore a time-looping narrative adventure game set in the world of the play Players play the game as

Ophelia who wakes up knowing that in fourdays the entire court will be dead and shemust do something to stop ite problemis that she is stuck in a time loop reliving thesame four days over and over againat said Shakespearersquos presence in the

video game industry tends to be focused oncitation rather than adaptation of the playsat is video games for Xbox Playstationand other popular gaming systems often

just cite Shakespearersquos plays as a part of acommon cultural heritageese games donrsquotrestage say Hamlet but they quote the playIn these cases Shakespeare is used to establisha point of identification for the audience His writing tells the audience something aboutthe character or the situation

Given that audiences are supposedto be able to identify the quotations asShakespearean it is unsurprising that Hamlet is the most popular text for game designers to

cite Ine Elder Scrolls Online for instancea merchant NPC (non-player character)quotes Polonius when players interact sayingldquoNeither a borrower nor a lender berdquoe words establish the NPCrsquos role as a merchant while fitting the medieval world of thegame In the game LA Noire upon pickingup a fake shrunken head at a crime scene adetective leaps into high melodrama withldquoAlas poor Yorick I knew him Horatiordquoequotation and the clever voice acting establish

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Shakespeare video games

48 SHAKESPEARE magazine

the characterrsquos strait-laced yet macabre senseof humour

Sometimes citing Shakespeare is a partof a critique of a larger theme In the game Mass E ff ect the Elcor are a race of elephantinealiens who preface all statements with adescription of the emotion they are feelingand who speak in a slow monotonous drone As players interact with the expansive worldthey can discover a number of advertisementsfor an all-Elcor Hamlet e idea of theElcor actor ndash the ultimate in a flat woodenperformer ndash having to preface ldquoTo be or not

to berdquo with ldquomorose ruminationrdquo goes beyondthe simple humour of a bad Shakespeareperformance It subtly asks what it is aboutacting (and especially voice acting) that isvaluable

Shakespeare can appear in video gamesnot merely as a marker or contextualisationtool but as a part of a puzzle For example inthe game Silent Hill 3 players must arrange aset of Shakespeare anthologies on a bookshelfin an abandoned shopping mall in order to

proceed in the game At the hardest levelthe puzzle clue takes the form of a poemthat references all the major tragedies Romeoand Juliet King Lear Macbeth Othello andof course Hamlet e bloody nature of thetragedies fits with the bloody nature of theSilent Hill series of games which fall into thesurvival horror genre

Popular video games have also servedas the inspiration for games that engage with Shakespeare in a more direct way For

example Daniel Fischlin at the Universityof Guelph in Ontario Canada led a teamthat created a Flash game called rsquoSpeare Itrsquos

a scrolling arcade-style game suggesting thersquo80s hit Galaga which sees players identifyingand navigating through a series of enemies who turn into words upon being destroyede player progresses through the levelsby collecting the correct words to createShakespearean quotes learning Shakespeareantrivia along the way

ImmersionOne of the most exciting aspects of videogames is the ability to immerse the player inthe world of the game in a way that othermedia simply cannot do Being able to walkaround Prosperorsquos cell Julietrsquos balcony orto stand before the ghost of Hamletrsquos fatheras he cries out ldquoList list O listrdquo ndash theseexperiences are made possible through videogame technology

Students of Scenic Arts at the Universityof Hildesheim in Germany created Projekt ARIEL or SturmMOD in 2008 using a lsquomodrsquo(or modification) to the engine that runs

the game Far Cry 1 e performance artproject allowed users to experience Prosperorsquosisland interacting with certain parts andexploring others Players could walk aroundan imaginative rendition of Prosperorsquos cell and witness or interact with elements of the playincluding diff erent characters like CalibanProspero and Miranda

Four days to savethe Danish court

Elsinore

Another Hamlet reference this timein LA Noire

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Shakespeare video games

SHAKESPEARE magazine 49

Gina Bloom at the University of Californiaat Davis is presently spearheading a projectthat will be demonstrated in the lobby of theStratford Festival theatre in Ontario Canadathis summere project Play the Knave AShakespeare Performance Videogame lets usersdesign a virtual performance space and thenperform a scene from a Shakespeare playinhabiting this constructed space with anavatar As a Davis insider explains ldquoWe use akinect motion capture camera to capture theuserrsquos skeletal data so that players use theirentire bodies to control their avatarrsquos gesturesonscreen all the while reciting the lines from

Shakespearersquos scenerdquo is literally immersesthe players in the scene

Shakespearersquos Globe eatre in Londontook another tactic regarding immersionin the production of the game HemmingsrsquoPlay Company Hosted on the Playgroundportion of the Globersquos website and thusaimed at an audience of children the gamehas players taking on the role of Hemmingsan Elizabethan bear who leads a troupe oftheatrical animals such as Kit the Cat Dekker

the Dog and Slye the Foxe turn-based game leads players through

the vagaries of Elizabethan theatre practicefrom patronage to lost props and the plagueBy the end of the game players must earnenough money to rebuild the Globe after itburns down during a performance of HenryVIII

Also from Shakespearersquos Globe are twoinnovative video experiences created forchildren aged five to 11 e first Exploring

Shakespeare features two boys on a tour ofthe Globe theatre who sneak off to explorebackstage e video illustrates four plays

using short animations that are keyedto things the boys find backstage etechnology combines live action film andanimation to create an interactive touchablegame Filled with mini-games quizzes andinteresting facts about Shakespeare the gameallows players to click through the narrativeor to stop and learn more as they go along

e second video called Staging It usesthe same technology as the first film but thistime is for the 11-16 age group In this gamee Globe has filmed two actors performingfamous duologues from A MidsummerNightrsquos Dream and Macbeth on the Globestage Rather than shoot it once the actorshave performed their lines in diff erent ways(happy flirtatious defensive and so on)creating several diff erent clips per linePlayers can watch each of the clips and addtheir choice to a dynamic storyboard tobuild up their final scene Impressively theplatform allows for up to 1000000 diff erentcombinations of clips

Apps and Mini-GamesItrsquos when you start to look outside of therealm of popular video game platformslike Xbox or Playstation that Shakespeare

Silent Hill 3 Brush upyour Shakespeare ifyou want to survive

Hemmingsrsquo PlayCompany fromShakespearersquosGlobe

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Shakespeare video games

50 SHAKESPEARE magazine

really starts to pop up wherever you looke ubiquity of Shakespeare is especiallynoticeable when you start to look at apps andmini-games designed for phones and tablets

In 2012 Big Fish Games released aniPhone and iPad game called Hamlet that featured all the main characters ofShakespearersquos play but transposed them intoa save-the-princess narrative puzzle game A time traveller lands in Denmark andaccidentally kills Hamlet and so players mustcomplete his journey for him saving Opheliaand killing Claudiuse Shakespeareancontent is minimal and heavily adapted andyet it fits with the puzzle format in whichShakespeare tends to be found in videogamese Chronicles of Shakespeare Romeo amp

Juliet ande Chronicles of Shakespeare A Midsummer Nightrsquos Dream are lusciously-illustrated puzzle games for the PC In themplayers act as one of the characters from theplays gathering items and clues through aShakespearean environment

Among the literally thousands of appsrelated to Shakespeare that can be found forthe iPad or Android tablet are

e Shakespearean Insult Creator which generates invectives drawn from a wholly Shakespearean vocabulary So nexttime you want to call someone a jerk trysomething more like ldquoou fusty follyfallenfustilarianrdquo

e Shakespeare Translator whichtranslates ldquonormal English words and phrasesinto the words of Shakespeare himselfrdquo

e Shakespeare Fortune Cookie which provides short quotes from the plays

and a small trivia game Shakespeare or Die a game that

scrambles the words of famous quotationsfrom the plays and asks you to identify theplay and character who spoke the line If youmake a mistake however beware the witchesese apps are either explicitly games or

they are coming out of a game-like impulse tomake Shakespeare more accessible to everyone with an internet connection

Brave New WorldsIn a world where Shakespeare is an industrycounted in the millions of dollars per yearit is so easy to forget that Shakespearersquos playsare just that ndash playsere is a sense of joyand fun and happiness embedded in theexperience of watching them Games are oneof the ways that people over the centuries

have tried to recapture that elusive sense ofplayfulness within Shakespeare So it makesperfect sense that now with the advent ofdigital technologies Shakespeare is movinginto the digital world with a vengeance

From big studio games likee ElderScrolls to small apps that can be downloadedfor free from talking bears to immersiveperformance experiences Shakespeare iseverywhere in video games Rather than beingan undiscovered country into which the Bard

is only just beginning to emerge games havein fact engaged with Shakespeare and his works for hundreds of years And they willprobably continue to do so for hundreds ofyears to come

rsquoSpeare is a scrollingarcade-stylegame with addedShakespeare trivia

Hamlet is aShakespeare-themed puzzle fromBig Fish Games

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Meet thy makers

Helen Mears fell into bardolatryduring her teenage years and has

never recovered She is a volunteersteward at Shakespearersquos Globe

which ensures a regular diet of theBard She teaches English Film andMedia at Suffolk New College and isa specialist in teaching Shakespeareusing active methods Her favouriteShakespearean actor is Jamie Parker

and her favourite plays are the SecondHistory Tetralogy She hopes to

finish her Masters in the AdvancedTeaching of Shakespeare very soonFind her on Twitter hipster_hels

Paul F Cockburn is an Edinburgh-based freelance magazine journalist who specialises in writing about

arts and culture equality issues andpopular science Hersquos sufficiently

grey-haired for his English Literaturetraining to have sort of overlapped

with The BBC Television Shakespeareproject saving at least some of the

plays from death by academiaFind him on Twitter paulfcockburn

Jen Richardson first fell in love withShakespeare as a 15-year-old schoolgirl

ldquoHe got under my skin and hersquos still theretodayrdquo After training with a Manchester-based drama tutor she went on to pursuean acting career Drama remains a greatinterest but her focus is now on sharing

her passion for Shakespeare throughher writing In her spare time Jen is

generally down in Stratford-upon-Avonsitting on her favourite bench behind

Holy Trinity ChurchFind her on Twitter The_JenJen

Andrew Bretz is a sessional instructorof English Literature and Drama

specialising in early modern dramaHe has taught at Wilfrid LaurierUniversity the University of Guelph

Brock University and McMasterUniversity For the past two years he

has taught a special summer intensiveat Ontariorsquos Stratford Festival His PhDdissertation was on the representationof sexual violence on the early modern

stage Find him on TwitterAndrewBretz001

Just some of the contributors to this issue of Shakespeare Magazine

Rosalind Lyons is a painter whohas exhibited widely in both mixedand solo shows with work in UK

and international private collections A life-long love of Shakespeare isreflected in many of her paintings

and a particular recent focus isShakespearersquos Globe theatre where shespent a period as artist-in-residenceShe is currently studying for a PhD

in Painting and ShakespeareanTheatre at Anglia Ruskin University

in CambridgeFind her on Twitter roslyons

52 SHAKESPEARE magazine

Contributors

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Page 21: Shakespeare Magazine 08

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SHAKESPEARE magazine 21

other hapless river tra ffic Boat trips typicallylast for around 40 minutes and are especiallypleasant in the late afternoon when the sun setsslowly behind the church steeple For addedluxury you can take a restaurant cruise where

afternoon tea or an evening meal are served onboard or as a quicker cheaper alternative youcould take the chain ferry across the Avoneferry dates from 1937 and is the last of its kindin the UK

Nash House and New Place

As well as the Henley Street property theShakespeare Birthplace Trust care for fourother locations in and around Stratford allassociated with Williamrsquos family Nash House

and New Place were adjoining propertieseformer was the home of Judith Shakespeareand her husband while the latter was thefamily home that William purchased in 1597at the time the second most expensive housein the town Sadly it was demolished by asubsequent owner but the Trust are currentlyundertaking a massive renovation of the siteis means that the properties will not be opento the public until 2016 to coincide with the400th anniversary of Shakespearersquos death

Hallrsquos Croft

A brief walk from New Place will take youto Hallrsquos Croft the home of SusannahShakespeare and her husband the physician John Hallis is an interesting property in its

own right and is partly set up to show how apractising physician would have worked at thetime A special mention too must goe Arterthe award winning independent craft shopadjoining the building and to the beautifulgarden in which open air performances ofShakespearersquos plays are sometimes performed

Stratford-upon-Avon

Holy TrinityChurch viewedfrom the Avon

Nash House andNew Place

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22 SHAKESPEARE magazine

Anne Hathawayrsquos Cottage A short distance from Stratford is Shottery where you can find the beautiful cottage

which was the home of the Hathaway familySet in yet another lovely garden this is thehouse in which Anne Hathaway grew upand was courted by the young William JohnShakespeare served with Anne Hathawayrsquosfather on the town council so their childrenprobably knew each other from a young agee family remained associated with thecottage for several centuries and have spunmany a yarn about the young lovers theveracity of which are highly questionable

However the stone floor of the kitchen isoriginal and we know that William must have walked those stones many many times

Mary Ardenrsquos Farme last of the Shakespeare properties is Mary Ardenrsquos Farm Shakespearersquos mother lived hereand itrsquos where she probably took the infant William when plague broke out in Stratfordshortly after his birth Open from March toNovember only the farm is run as a working

Tudor farm with costumed guides caring forthe buildings and the animals Itrsquos a great placefor a family day out with plenty to see and doand numerous activities runningere are

daily falconry shows archery animals to feedand games to play You can even treat yourselfto a genuine Tudor meal in the cafe ndash pottageand home-baked breads are a speciality

What if you donrsquot have a care town itself is fairly small and all themain attractions are within walking distanceHowever the easiest way to get around and toenable a visit to Anne Hathawayrsquos Cottage andMary Ardenrsquos farm is to the Hop On-Hop Off City Sightseeing busis will take you to allthe main town locations and also to Shotteryand Wilmcote A day ticket will give youunlimited access to the buses and allow you tovisit all of the Shakespeare properties e buscan be picked up by the statue of Touchstonethe jester at the top end of Henley Street

Walking Tours Another excellent way to see the main sites ofStratford and to learn some of the historicaltales of the town is to take a walking tour

Stratford-upon-Avon

Anne HathawayrsquosCottage

Mary Ardenrsquos Farm

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ere are several options depending on thetype of tour yoursquod likee town guides runhistorical tours of the town every day (yesevery day) of the year For those who like to be

a bit more daring there are evening ghost walksled by costumed guides who will tell you someof the spooky tales of Stratford Both of thesetours start from the Swan Water Fountain onthe riverside

Or if you like the idea of being guidedby Shakespeare himself on a Saturday (andMonday to Saturday through the summerholidays) there are town walks led by the manhimself (or someone who looks an awful lotlike him)ese run from Tudor World onSheep Street an interesting museum in thehouse that belonged to the man who wasallegedly the model for Sir John Falsta ff

Holy Trinity Church Another must-see is the townrsquos 13th centurychurch with its distinctive spire that dominatesthe view from the river Remember that if youhave a ticket to the Birthplace properties yourvisit to the grave is free e church is famousfor being where William Shakespeare wasbaptised on 26 April 1564 e old font that

was used for the baptism is displayed in thechancel along with copies of both the registerof baptism for April 1564 and the register ofburials for April 1616 where Shakespearersquosname can be clearly seen Also in the chancelin front of the altar are the Shakespeare familygraves Williamrsquos bears its infamous curse

ldquoGOOD FRIEND FOR JESUSSAKE FOREBEAR

TO DIGG THE DVST

ENCLOSED HEREBLESTE BE YE MAN YT SPARESTHESE STONES

AND CURSED BE HE YT MOVESMY BONESrdquo

On the wall above the grave is the effigy of

Shakespeare Itrsquos one of the few images which was produced within the lifetime of AnneShakespeare and probably one of the mostauthentic likenesses of her husband

The Guildhall and King EdwardrsquosSchoolDirectly opposite the site of New Place standthe Guildhall and the townrsquos old grammarschool Both of these places have links to theShakespeare family King Edwardrsquos Schoolis where the young William is believed tohave studied and itrsquos probably where hefirst encountered the classical texts which soinspired him As the son of a town councillorhe would have been entitled to a placee

old school is sometimes open to visitors at weekends or during the holidays but theschool has just won a lottery grant whichshould enable them to open it as a permanentattraction e Guildhall was sometimes hostto groups of travelling players and so it couldbe the site where young William first sawtheatrical performances It is widely believedthat John Shakespeare owing to his role astown bailiff was responsible for supervising the whitewashing of the medieval Doom Painting

Stratford-upon-Avon

SHAKESPEARE magazine 23

The GuildhallDoom Painting

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24 SHAKESPEARE magazine

Stratford-upon-Avon

is has been recovered and is now once againvisible above the chancel arch

The Royal Shakespeare CompanyTheatre and the riversidee riverside park is home to several interestingsights It is from here that you can get a view ofthe Clopton Bridge pick up a river cruise feedthe swans and admire the Gower Memoriale memorial was presented to the town in1888 and features a statue of Shakespeareseated upon a plinth overlooking statues offour of his best known charactersese areHamlet Prince Hal Sir John Falsta ff and Lady

Macbeth who represent Comedy HistoryPhilosophy and Tragedy Closer to the theatreis the beautiful Swan Water Fountain unveiledin 1996 If you see the water frothing fear notit seems to be a sport amongst local youngstersto fill the fountain with washing up liquid on aregular basis

e Royal Shakespeare Companyeatre was built in 1932 but has recently undergonea complete refurbishment in both the mainand the Swan theatres e building reopened

in 2010 with both theatres having beenconverted to boast thrust stages and curvedgalleries similar in shape to the originalElizabethan playhousese world renowned

Royal Shakespeare Company performshere throughout the year staging plays byShakespeare and his contemporaries as well asby newer authors ey also run an educationprogramme exhibitions family activitiesduring the school holidays and theatre toursTo see Stratford from an entirely diff erentangle take the lift up the 36 metre high towerfor spectacular views across the town

Where to eat and drinkStratford has an excellent range of eateriesto suit all tastes and budgets ere is pubgrub afternoon teas world cuisine finedining pizza pasta and fish and chips Manyrestaurants off er pre-theatre menus and ifyoursquove been on a town walk you may find thatyou can get discount vouchers for your foodere are many pubs in Stratford including theGarrick Inn the oldest pub in the town whereyou can taste the Shakesbeer specially brewedto celebrate Shakespearersquos 450th Birthday in2014 If you want to spot RSC cast members

relaxing after their showse Dirty Duck on Waterside is the place to drink

Where to stay Again Stratford-upon-Avon has a good varietyof hotels bed and breakfasts and holidayhomes All the main chains have hotels inthe town from budget brands to the luxurynamesere is an excellent choice of bedand breakfast establishments in and aroundthe town again these will suit all tastes and

budgets Airbnb also has an interesting rangeof rooms flats and houses to rent in StratfordHowever be sure to book early especially forthe prime summer months

The Shakespeare Birthplace Trustwwwshakespeareorguk

The GowerMemorial Will andPrince Hal

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M

any places around the worldhave been named afterStratford-upon-Avon thebirthplace and home of William

Shakespeare And many of those Stratfordsare home to theatre festivals of varying sizesStratford in the state of Victoria in Australiahas an annual Shakespeare festival still goingevery year while Stratford in Connecticut inthe USA had a major theatre from the mid1950s to the mid 1980s Stratford Ontarioin Canada however stands out among thesetowns and festivals not merely in scope but ininternational reputation and prestige

In 1950 Canada had no home-growntradition of classical theatre Certainly

Shakespeare was performed but there hadbeen a strong anti-theatrical movement inCanada throughout the 19th century whoseeffects still lingered throughout the first half ofthe 20th As a cultural icon Shakespeare wasedifying to be sure but certainly not to beperformed The Stratford Festival changed allof that for Canada

In the late 1940s the local newspapers andgovernment of the town conceived of the ideaof revitalising Stratfordrsquos sagging economy by

capitalising on the name of the town and its

long association with the Bard They bandedtogether and under the leadership of TomPatterson they brought over Tyrone Guthrieand Alec Guinness for the first season in1953 Guthrie had famously directed Gielgud

inHamlet

at Elsinore Castle in Denmarkand had been the manager of the Old Vic inLondon He wanted to create an acting spacethat echoed the original Globe theatre whereactors were surrounded by the audience incontrast to the proscenium arch theatres thatdominated the London and New York scenes

From the first performance which tookplace inside a giant circus-style tent on thebanks of the Avon River the festival workedto create a new aesthetic of Shakespeareanperformance The thrust stage of the FestivalTheatre designed by Tanya Moiseiwitschhas been recognised as one of the greatinnovations in stage design of the 20th centuryGenerations of actors have had to learn howto address an audience on three sides of themsometimes only an armrsquos length away

The festival has been central to the careersof Canadian actors such as ChristopherPlummer Martha Henry and even WilliamShatner Actors from the US and UK havesought to play the festival as well including

Peter Ustinov Christopher Walken and JessicaTandy Indeed these international stars notonly lend credibility but have indelibly markedthe festival For instance Maggie Smithrsquosperformance as Rosalind in As You Like It inthe 1977 and 1978 seasons is legendary in thecompany and the town

Today the festival has expanded to includemultiple performance spaces a theatre schooluniversity accredited courses and the largesttheatrical costume shop in North America

It has started countless careers inspiredcompanies such as Torontorsquos SoulpepperTheatre and helped shape the Canadiantheatre landscape for over 50 years

Stratford Festival ndash Ontario Canada

wwwstratfordfestivalca

MEANWHILE

IN CANADATherersquos more than just one Stratford you knowAnd the one in Ontario Canada has a world-renownedShakespeare Festival gives us a tour

Stratford Ontario

SHAKESPEARE magazine 25

ldquoFrom the fi rst performancethe Festival worked tocreate a new aesthetic ofShakespearean performancerdquo

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Planning to performa short selection

from Shakespeare

The 30-Minute Shakespeare

Anthology contains 18 abridged

scenes including monologues from

18 of Shakespearersquos best-known plays

Every scene features interpretive stage

directions and detailed performance

and monologue notes all ldquoroad testedrdquo

at the Folger Shakespeare Libraryrsquos

annual Student Shakespeare Festival

THE 30-MINUTE SHAKESPEARE is an acclaimed series of abridgments that tell the story of each play while keeping the beauty ofShakespearersquos language intacte scenes and monologues in this anthology have been selected with both teachers and students inmind providing a complete toolkit for an unforgettable performance audition or competition

NICK NEWLIN has performed a comedy and variety act for international audiences for more than 30 years Since 1996 he hasconducted an annual teaching artist residency with the Folger Shakespeare Library in Washington DC

The 30-Minute Shakespeare series is available in print and ebook format at retailersand as downloadable PDFs from 30MinuteShakespearecom

The 30-Minute Shakespeare Anthology

includes one scene with monologue

from each of these plays

ldquoLays the groundwork for a truly fun and sometimes magical

experience guided by a sagacious knowledgeable and intuitive

educator Newlin is a staunch advocate for students learning

Shakespeare through performancerdquo mdashLibrary Journal

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Roaslind Lyons

28 SHAKESPEARE magazine

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For UK artist Rosalind Lyons the Bard is a

constant presence in her creative life She tells

us how Shakespeare inspired the haunting and

dreamlike works that adorn these pages

Words and paintings by Rosalind Lyons

Rosalind Lyons

SHAKESPEARE magazine 29

Left TheRoaring Boys

PAINTINGSHAKESPEARE

S hakespeare has long been at the heart ofmy work sometimes directly and obviouslyin the subjects and often in the titlesBut always Shakespearersquos words charactersand stories are there in my head when Iam painting ndash a perpetual conscious andunconscious presence

My style echoes that of the Renaissancepainters and Elizabethan portraits andthese influences combined with a life-long love of Shakespeare made my firstvisit to Shakespearersquos Globe pivotal Iexperienced a powerful sense of connectionand recognition Here suddenly ideasand themes with which I had been so longpreoccupied were brought to life

I subsequently gained access to theGlobe to draw and later spent some time

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as Artist in Residence thereat experienceprompted more in-depth exploration notonly of Shakespeare and painting but of therelationship between painting and theatreere are of course the strong visualconnections ndash both are spaces for spectacleand illusion But also compelling ideas oftransformation imagination storytelling andidentity And overall the theme of ambiguitye blurring of boundaries between realityand fiction male and female light andshadow past and present I am fascinated byhow we respond to history how we re-presentand re-imagine the past And the figures inmy paintings are imagined as belonging toboth now and then ndash flitting back and forthacross the threshold between past and presentbetween Shakespearersquos time and our own

modern worldI have painted some specific characters

from Shakespeare but many subjects ofmy paintings are anonymouse figuresare unknown their place purpose role is amysteryis anonymity is unsettlingereare clues in the setting in the costumes ndash orperhaps I should just say in the clothes theyare wearing ndash but the context is not obviousI am fascinated by the dramatic convention ofcross-dressing ndash and particularly the inherent

confusion as with Rosalind ( As You Like It )and Viola (Twelfth Night ) in the idea of aboy playing a girl playing a boy Many of thecharacters I invent are androgynous theirgender and age uncertainis ambiguityof identity interests me in the context ofvisual illusion and theatrical transformationthe idea of inbetween-ness and somethingunresolved

Like theatre my paintings are concerned with inventing characters and the creation

Right No MoreYielding But A

Dream

Roaslind Lyons

30 SHAKESPEARE magazine

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of an imaginary world and I am particularlyattracted to the fools fairies and witchesIn A Midsummer Nightrsquos Dream the fairiesrsquoactions may seem malevolent or benign or just mischievous but there is definitely a dark

side an underlying sense of threate Fool too is intriguing Shakespearersquosfools frequently describe themselvesor are referred to as a nobody but areunquestionably much moree fool is anoutsider concerned with but at the same timeseparate from the story He ndash or sometimesshe ndash doesnrsquot quite belong anywhere butseems to exist on the boundary between thefamiliar and the uncanny

I am attracted to the strange to mysteryand shadows and try to express through myimages a strong feeling that it could be thator maybe something else As Orsino says atthe conclusion of Twelfth Night ldquoA naturalperspective that is and is notrdquo While makinga painting and even when it is finished Idonrsquot know really who my characters are ndashthey remain elusive But I like not knowingand ultimately meanings always change anddepend on individual perceptions

My experience at the Globe led to aparticular fascination with the ambiguous and

protean quality of the theatrical performerhow their identity transforms and fluctuatesI was attracted by this when watching

Rosalind Lyons

SHAKESPEARE magazine 31

Above A MidwinterNightrsquos Dream

Right Three Fools

Far right FollowingDarkness

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rehearsals observing actors shift between selfand impersonation between diff erent realitiesand identities When they are not acting theyndash metaphorically and often literally ndash melt

into the shadows I am interested too in thephysical and symbolic threshold between lsquoonrsquoand lsquooff rsquo-stage the transformation inherentin an actor moving from the wings onto thestage assuming another self and anotheridentity Particularly evocative is the fact thatactors were colloquially known as shadowsin the Elizabethan playhouses ndash suggestingsomething unknowable and insubstantialIn the Prologue to Henry V Shakespeare hasthe Chorus describe the players as lsquociphersrsquoimplying deception and secrecy

Artists in the past who have tackledShakespeare have generally produced imagesthat directly illustrate the text or representfamous actors or scenes from a particularperformance Today as well as on the stageShakespearersquos plays are frequently re-imaginedin very successful film and TV adaptationsbut I have struggled to find more than ahandful of contemporary fine artists whohave engaged with Shakespeare on any levelPerhaps Shakespeare as a subject is seen

by some as too traditional too lsquopopularrsquoor simply just too lsquooldrsquo But in the theatreand in literature there is an ever-increasingenthusiasm for innovative interpretationsof the plays and for me Shakespeare is aconstant inspiration

e Prologue of Henry V also urges theaudience to ldquoPiece out our imperfections withyour thoughtsrdquo to liberate the imaginationand create another kind of reality to shapeour own fantasies within the ldquowooden Ordquo of

the theatre In my paintings I endeavour todo the same

Explore the work of Rosalind Lyons atwwwrosalindlyonscom

Above These Two CreaturesBelow Therersquos Magic In Thy Majesty

Roaslind Lyons

32 SHAKESPEARE magazine

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$amp( ) +-01

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Aidan OrsquoReilly

34 SHAKESPEARE magazine

Looking forRichard AidanOrsquoReilly is playingShakespearersquosbaddest monarch

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Aidan OrsquoReilly

SHAKESPEARE magazine 35

You are legally blind having been

diagnosed with retinoblastoma as an

infant How did this impact on your

acting aspirations and early career

ldquoMy parents did a good job raising me Inever grew up thinking of it as a handicap orthinking it could hold me back from what I wanted to do I couldnrsquot play sports at all soI think my parents were grateful that I hadsomething that I was passionate about from avery young age

ldquoI went to a public elementary school with a program designed for the blind so itfelt very natural for me to be the way that I was And acting has always been part of thatrdquo

You went to RADA in London Was

there a reason why you wanted to

train in England and not in the US

ldquoItrsquos always been an ambition of mine to

travel as far and wide as possible Also myhero growing up was Peter OrsquoToole ndash Iread his autobiography in high school andlearned he had gone to RADA and decided I wanted to go there too So I auditioned therenot knowing that RADA is arguably thebest drama school in the English-speaking world Consequently I was quite relaxed atthe audition which is probably why I gotin My ignorance can sometimes serve me well Going to RADA was a life-changing

Aidan OrsquoReilly is an actor with an

inspiring story Legally blind since he

was six months old he forged a passionfor drama at an early age Aidan went

on to gain a BA with honours from

Londonrsquos Royal Academy of Dramatic

Art before touring for three years with

the American Shakespeare Center

In 2012 Aidan was diagnosed with

sarcoma a rare cancer He bounced

back in 2014 after intensive treatment

and is now cancer-free We spoke to

Aidan as he prepared to play the title

role in Richard III for Californiarsquos Marin

Shakespeare Company We asked himto share his story and to give us his

take on one of Shakespearersquos most

fascinating characters

Interview by Jen Richardson

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Aidan OrsquoReilly

36 SHAKESPEARE magazine

experience I was lucky enough to havecontact with brilliant professors and Irsquom stillin awe of the students I went to school withI wouldnrsquot trade that experience for anythingrdquo After graduating from RADA you

went on the road with the American

Shakespeare Center Tell us a bit

about that

ldquoThat was one of the happiest times of mylife In many ways I got spoiled I was a working actor 11 months out of the yeartouring nationally seeing parts of the USI had never been to before doing plays Iloved and working with directors who werevehemently faithful and respectful to the text When I wasnrsquot on the road I was in residenceat the Blackfriars Playhouse in StauntonVirginia with many extraordinary actorsI was very lucky to be thererdquo

Three years ago you were diagnosed

with sarcoma How did you

overcome this enormous challenge

and return to the stage in 2014

ldquoThe only reason Irsquom still alive is because ofmy mother Lily and my wife Jocelynn AlsoI was fortunate that we caught it before it hadspread and it was on my leg and away fromany major organs

ldquoI am very grateful for my team of doctorsat UCSF who did an incredible job in mytreatment and follow-up care Irsquom glad to beback to workrdquo Yoursquore now due to play Richard III

with Marin Shakespeare Company

Howrsquos it going so far

ldquoAt this point Irsquom in the paperwork stage

of things A lot of reading the HenryVI s biographies of Richard as well asperformance history of the play itself Irsquomdoing a fair amount of limping around myapartment as well I canrsquot wait to get intorehearsals next weekrdquo Tell us about Marin Shakespeare

Company and what appealed to you

about working with them

ldquoRobert and Lesley [Currier MSCrsquos Artistic

Director and Managing Director] arefascinating people Their intelligence andhumour is contagious Without questionthere is a lot to be learned from themrdquo Richard IIIrsquos remains were discovered

in 2012 and reburied this year Is all

the new information about Richard

influencing your portrayal

ldquoYes and no My job isnrsquot to play the historicalRichard but the Richard that Shakespeare has

Aidan believesthat Richard IIIrsquosobsession withcontrol is whatcauses his downfall

ldquoPeter OrsquoToole wasmy hero He went to

RADA so I wanted to go there toordquo

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Crowning gloryAidan with MarinShakespearersquosRobert Currier

created Itrsquos helpful to know the facts of thesituation in order to gain insight into whathas been changed in Shakespearersquos versionof events

ldquoI met with a friend of mine who is a

retired surgeon who walked me through themedical information that has come to lighton Richardrsquos body and I will certainly usethat to inform my physical choicesrdquo Unlike many actors yoursquore the right

age to play the historical Richard III

Do you feel Richardrsquos relative youth

has been overlooked

ldquoI do Richard is a young man who believeshe is hardened by the experiences he andhis family endured during the War of theRoses and believes himself to be beyondhuman emotions and the lsquorestrictionsrsquo of aconscience He isnrsquot He pays the bill for thehorrible things he does That lack of self-knowledge is not exclusive to youth but I feelit makes him more sympathetic and relatableto an audiencerdquo Some people think Richard III shows

Shakespeare delivering a highly

effective piece of Tudor propaganda

Where do you stand on thatldquoI think Shakespeare has a soft spot foroutsiders and underdogs Although his playssometimes work within the confines of thebiases of Elizabethan society he canrsquot help butmake his lsquovillainsrsquo fascinating human beings

For as horrible as Richard is itrsquos amazing tosee how audiences relate and respond to himrdquo Which other important themes do

you feel Shakespeare deals with in

the playldquoThe history plays are full of extraordinarypeople who waste their lives and intelligence who sacrifice their humanity in pursuit of thecrown Itrsquos still happening today What is theattraction of power Richard never pauses tothink of why he wants the crown or if hersquodbe any good as king Turns out hersquos not butitrsquos this bizarre obsession with control thatpropels him to kill everyone off thatrsquos in his way Itrsquos also fascinating that the one characterthat is consistently kind to Richard is hisfather York

ldquoI think an argument can be made thatRichard in his warped way is trying to liveup to the image he has of his father Ofcourse York is dead and gone by the timeRichard III begins but you can glean a lotabout Richardrsquos inner workings in the way hespeaks about his father Of course itrsquos foolishto try to answer questions that Shakespearedoesnrsquot and Irsquom not trying to say this solvesa mystery but I think itrsquos interesting Itrsquos only

an element itrsquos not the answerrdquo Richard III is listed as a historical

play in the First Folio but in the

quarto edition it is termed a tragedy

Which category would you put the

play in and why

ldquoI think of the history plays from Richard II to Richard III as one vast play an epic thatencompasses all the categories I think if youlook at Richardrsquos progression through those

plays you see a great mind warped by the War of the Roses and that certainly adds tothe tragic element I think of Richard III asthe final chapter of a great epicrdquo

Aidan OrsquoReilly stars in Marin ShakespeareCompanyrsquos Richard III from 4-27 September

Aidan OrsquoReilly

SHAKESPEARE magazine 37

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Scotland Shakes

SHAKESPEARE magazine 39

Bonnie Prince

Brian Fergusonas Hamlet in theCitizens Theatre

production Photoby Tim Morozzo

Billy William Shakespeare is undoubtedly Englandrsquos

Bard But how is he viewed north of the border

Our Caledonian correspondent surveys the state

of Shakespeare in Scotland and meets esteemed

outdoor theatre company Bard in the Botanics

Words Paul F Cockburn

T owards the end of May thisyear a BBC Scotland afternoon

news bulletin surprisinglyturned its attention to aforthcoming production of

ldquoone of William Shakespearersquos best lovedplaysrdquo ndash A Midsummer Nightrsquos DreamHowever this particular production wasnrsquotconsidered newsworthy because it came froman amateur group based in Dumfries andGalloway Not even that the CrossmichaelDrama Club were one of just seven amateurScottish groups taking part in the Royal

Shakespeare Companyrsquos Open Stages project which aims to help amateur companies

extend their repertoiresNo the lsquohookrsquo was how this newproduction was Shakespeare ldquobut no asyou micht ken itrdquo Because it had beenreimagined in Scots as A MidsimmerNichtrsquos Dreme

As it happens writer John Burns saysthat his principle reason for translating AMidsimmer Nichtrsquos Dreme was simply theintuition that it being in Scots would workto the benefit of the production ldquoItrsquos not

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Scotland Shakes

40 SHAKESPEARE magazine

so much that 16th century English canrsquot docertain things more that using Scots brings itcloser to a Scottish audience and to audiences who might think Shakespeare too fancyrdquo hesays ldquoI feel too that Scots can catch the sheerphysical power of Shakespearersquos language He writes lines you really feel physically when

you say them out loud My intention was touse Scots to produce a text that was actableand which would be accessible and enjoyablefor the audience and the Scots was a majorpart of thatrdquo

Arguably translating Shakespeare intoScots ndash viewed by many as a distinct languagefrom English ndash is just one way of finding thecontinued relevancies of Shakespearersquos writing with the here and now Certainly John Burns was keen to see if Scots ldquocould match the way

Shakespeare switches tonehellip from broad attimes bawdy humour to moments that aremore serious or even sinisterrdquo

Yet there is a wider perspective whether wersquore discussing translation into Scots orsaying Shakespearersquos words with a Scottishaccent Willy Maley and Andrew Murphyin their introduction to Shakespeare andScotland (published by Manchester UniversityPress in 2004) go as far as describing thetranslation of Shakespearersquos Macbeth into

Scots as ldquoa patriotic actrdquo not least becauseof ldquothe political commitment implicit intranslating from English to Scots reversing

the dominant dubbing practice infi

lmsrdquoGlasgow-based novelist and playwright Alan Bissett ndash who actively campaigned fora Yes vote during last yearrsquos IndependenceReferendum ndash has since written about howsince the 1970s Scottish theatre had ldquoadeep engagement with the shifting beastof Scottish politicsrdquo Although Bissett wasfocusing primarily on original works byScottish playwrights and directors itrsquos worthpointing out that Shakespeare ndash despite therebeing absolutely no evidence to prove he evertravelled north of Carlisle ndash has played hisown part in this

As Maley and Murphy point outldquoScotlandhellip never had precisely the samerelationship with the Bard as England hasbut has experienced a fraught process ofappropriation incorporation and resistancerdquoIn part this is because Shakespeare ndash in hislatter career ndash was among the first lsquoBritishrsquo writers Many of his later plays ndash Cymbeline King Lear even Hamlet ndash were produced

A tartan-cladAntipholus andDromio in Bard inthe Botanicsrsquo TheComedy of Errors

Brian FergusonrsquosHamlet CitizensTheatre productionPhoto by TimMorozzo

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under the patronage of Scotlandrsquos King JamesVI (aka James I of England) Each in theirown way can be said to touch on ldquothe matterof Britainrdquo the complex relationship between

the constituent elements of Jamesrsquos newlsquounitedrsquo kingdom which the Stuart monarch was determined to see joined into oneat never quite happened of course

Even after the 1707 Act of UnionScotland retained its own legal educationaland religious systems along with anaccompanying sense of Scottish identity ndash which survived even the height of the Britishempire Yet from the 1970s on there havebeen notable changes in how Shakespeareis treated by Scotlandrsquos producing theatrecompanies Several years ago GlasgowrsquosCitizenseatre delivered a powerful Romeoand Juliet in part because of their decision toset the action in a present-day sectarian Westof Scotland ndash with accents to match

ldquoEnglish-accented Shakespeare carriesa specific resonance in Scotland one thatdirectors usually choose to avoidrdquo pointsout Mark Fisher a freelance journalist criticand author of the forthcoming book How toWrite Abouteatre

ldquoIrsquom not sure exactly when attitudesstarted to change but Irsquod say the argumentin favour of Scottish-accented productionshad been pretty much won by the 1990sBy that time companies such as Raindogand directors such as Hamish Glen hadbeen making a point of casting very Scottishproductions of Shakespearerdquo

One example of how things hadprogressed even by 1992 was the late KennyIrelandrsquos production of A Midsummer

Nightrsquos Dream his first as Artistic Directorat Edinburghrsquos Royal Lyceum ldquoHe castthe mechanicals with Scottish accents andeveryone else with English accentsrdquo MarkFisher explains ldquois I said in my review wasa fundamental error ndash or some such phrasee message it sent out was that people withScottish accents were foolish figures of fun whereas people with English accents wereserious figures of respect

ldquoIreland reacted furiously to my review

and made the case that he had based thecasting of the mechanicals around (the actor) Andy Gray who has a Scottish accent Inother words the meaning I inferred hadnot been deliberate I think itrsquos true to sayhowever that Ireland never cast a Shakespearelike that againrdquo

Gordon Barr is Artistic Director of

Glasgow-based Bard in the BotanicsScotlandrsquos only professional Shakespearecompany (see following pages)

ldquoWersquove never gone out of our way tomake Scottish versions of these texts norhave we gone out of our way to have classicaltraditional voicesrdquo he says ldquoMost of our coreactors have made their careers up here so wethink of them as Scottish actors

ldquoat is important to us to not overlylook outwards for the acting company As

much as possible we work with people who are based in Scotland Wersquore regularlyproducing Shakespeare here and we want tobe a part of the training to ensure that there isa range of strong classical actors hererdquo

Citizens Theatrewwwcitzcouk

Owen Whitehawas the Fool andDavid Hayman asLear in CitizensTheatrersquos King Lear Photo by TimMorozzo

Scotland Shakes

SHAKESPEARE magazine 41

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Bard in theBotanicsrsquo As You Like

It takes Rosalind andOrlando into theopen air

ldquoTouring is something that we have wanted to do foryears but was somethingthat we could not afford

to do without fundingrdquo says Gordon Barr Artistic Director of Scotlandrsquos only professionaloutdoor Shakespeare festival Bard in theBotanics If therersquos any irony attached tothe companyrsquos first major tour of Scotland which took place in early 2015 itrsquos that theperformances of their acclaimed Romeo and Juliet ndash featuring a cast of five ndash were playedexclusively indoors

ldquoNobody is touring classical theatre in

Scotland at the minute so itrsquos importantto usrdquo Barr adds ldquoOur work is so muchabout accessibility One of the joys of beingoutdoors is that people come to see the work who wouldnrsquot buy a ticket for a theatre Ifyou can bring a picnic sit out on the grass while watching the show it feels easier moreaccessible But people canrsquot come from Thursoto Glasgow for a night just to see a productionof Shakespeare They should be able to see itin Thurso So that is kind of where the urge totour came fromrdquo

Bard in the Botanics has presented outdoorShakespeare within the grounds of GlasgowrsquosBotanic Gardens since 2003 This yearrsquoslsquoUnlikely Wondersrsquo season presented newproductions of Loversquos Labourrsquos Lost The Merchant of Venice Richard II and A Midsummer Nightrsquos Dream in lsquoreprsquo between24 June and 1 August

The companyrsquos founder Scott PalmerBarr explains had done a lot of his training atthe Oregon Shakespeare Festival one of the

biggest in North America ldquoWith the kindof drive and enthusiasm that only Americanshave he managed to convince the entire cityof Glasgow that outdoor Shakespeare would work and that the weather wasnrsquot going to be

a problemrdquoTwo years later Palmer moved on and Barr

ndash originally involved as a director ndash succeededhim as Artistic Director ldquoIf anyone then hadsaid that I would end up spending 12 yearsrunning an outdoor Shakespeare festival I wouldnrsquot have believed themrdquo he says in hisoffice hidden behind some of the Botanicsrsquogardening sheds ldquoI very quickly fell in love with it once I started working here Despiteall the trials and tribulations that outdoortheatre in Scotland brings with it therersquos just

something magical and special about it Itrsquos a very close-knit company and thatrsquos sort of keptus all here as long as we have beenrdquo

While the annual summer season ofShakespeare plays in the Botanics will remainat the centre of what the company does ndashldquoOtherwise Bard in the Botanics becomesa rather strange namerdquo ndash Barr is very much

Outof theGarden

This year has seen Glasgowrsquos Bard in the Botanicsdo something completely unexpected They wentout on a tour of ndash whisper it ndash indoor venueshellip

Scotland Shakes

42 SHAKESPEARE magazine

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Scotland Shakes

SHAKESPEARE magazine 43

focused on building on the touring side ldquoBecause it was our first ever tour we

did end up taking Romeo and Juliet to theestablished Scottish touring circuitrdquo he addsldquoIt takes a while to build up relationships with the smaller venues thatrsquos going to bean ongoing process for us Even so we weretaking Romeo and Juliet to places like Mulland Stranraer ndash communities and venues thathavenrsquot had a lot of classical theatre comingthrough themrdquo

The choice of play was deliberate too ldquoIt was a production that was ready to go whichhad received five star reviews and sold out itsextended run in the Botanics in 2012 So weknew that the work was good but therersquos nodoubt that for a first tour we wanted to makeit easier for the venues to sell it Most venuesknow they can find an audience for Romeo and Juliet rdquo

In time he hopes that audiences aroundthe rest of Scotland will come to trust the Bardin the Botanics name sufficiently to take on theless familiar plays

ldquoYou just donrsquot know how quickly acommunity is going to turn out for Henry IV yetrdquo he says ldquoHopefully three or four toursdown the line theyrsquore going to turn out forBard in the Botanics ndash and if it happens to be

Henry IV well thatrsquos greatrdquoGiven their reimagining of A MidsummerNightrsquos Dream as a 1920s burlesque musicalis there a particular Bard in the Botanicsapproach to Shakespeare

ldquoOur kind of unofficial motto is lsquoBe BoldBe Braversquordquo Barr says ldquoIf wersquore continuingto stage these plays around 400 years afterShakespearersquos death I think therersquos an urgencyto ask lsquoWhyrsquo It is important to questionlsquoWhat is the story that we want to tellrsquo I wantto see how these plays intersect with historyand todayrsquos society not to present museumpieces

ldquoItrsquos always with an eye to try to releasesomething thatrsquos within the textrdquo Barrinsists ldquoWersquore not remotely interested ininnovation for innovationrsquos sake The playsare masterpieces thatrsquos essentially why wersquorestill doing them 400 years later But to revealsomething thatrsquos unexpected or new thatrsquosimportant to usrdquo

Bard in the Botanics

wwwbardinthebotanicscouk

Rosalind and Audreyin the forest Bardin the Botanicsrsquo As You Like It

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Shakespeare at the Tobacco Factory stf 2016 Seasonco-production with Tobacco Factory Theatres

HAMLETBy William Shakespeare

Directed by Andrew Hilton

Main run Thu 11 February ndash Sat 26 March 2016

In repertoire with Allrsquos Well That Ends WellMon 25 ndash Wed 27 April Sat 30 April 2016

The most famous play in world drama Hamlet

turns a new face to every decade So many

elements - political madness sex murder ndash all

brought together in a drama that is both a thriller

and the profoundest meditation on our human

condition

ldquoThrilling workrdquo The Guardian on Romeo amp Juliet

ldquoBullseyerdquo WhatsOnStage on Romeo amp Juliet

Shakespeare at the Tobacco Factory Friends Priority Booking opens Wed 23 September 10am

wwwstf-theatreorguk

Tobacco Factory Theatres Members Priority Booking opens Wed 16 September 10am

wwwtobaccofactorytheatrescom

Public Booking opens Wed 30 September 10am

Tobacco Factory Box Office 0117 902 0344

ALLrsquoS WELL THAT ENDS WELLBy William Shakespeare

Directed by Andrew Hilton

Main run Thu 31 March ndash Sat 23 April 2016

In repertoire with Hamlet

Thu 28 ndash Fri 29 April Sat 30 April

A young woman using skills bequeathed herby her father saves the French Kingrsquos life and

is rewarded with the right to choose her own

husband But what if the chosen one wonrsquot play

the game How can she get him into bed How

can she make him love her

ldquo There is something approaching real

magic hererdquo The Arts Desk on The School for Scandal

P h o t o s M

a r k D o u e t

Dorothea MyerBennett in Richard III

Benjamin Whitrowand Julia Hills in The

School For Scandal

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Having conquered

Hollywood and vanquished

the global entertainment

industry video games now

on our culture So where

does the Bard stand in all of

this We sent a Shakespeare

scholar to investigatehellip

Words Andrew Bretz

Shakespeare video games

46 SHAKESPEARE magazine

T eGamersquos A oot Silent Hill is one

big-name gamewhich includesShakespearereferences

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Shakespeare video games

SHAKESPEARE magazine 47

German cardboard Macbeth datingfrom the early1800s

Hamlet reimaginedRyan Northrsquos To Be

Or Not To Be

W

hen you walk intothe wood panelled Victorian Gothicismof the Gail Kern Paster

Reading Room at theFolger Shakespeare Library in WashingtonDC video games are probably the lastthing on your mind Buried deep withinthe archives however are a set of fragilecardboard figures printed in Germany in theearly 1800s representing each of the maincharacters of Macbeth

Nineteenth century German children would play with these figures on smallcardboard stages no bigger than a dollhouseey could replicate the story as it was toldin Shakespeare or use their imagination tochange the ending letting Lady Macbethsurvive and bringing Duncan back from thedead if they so chosee limits of the game were the limits of their imagination

Today the lsquogamificationrsquo of Shakespeareis a big business from Ryan Northrsquos choose-your-own-adventure edition of Hamlet To Be Or Not To Be to IDW Gamesrsquosupcoming Kill Shakespeare board gamebased on the comic of the same name

Gamifying Shakespeare is filtering intoschools libraries and the theatrical worldas well with the University of California atDavis the Stratford Festival in Ontario theGlobeeatre in London and the LondonMetropolitan Archives all experimenting with video game elements in exhibits productionsand research

Why video games In a sense this is thelogical next step in the media development ofShakespeare Hersquos everywhere in other media

books movies merchandise But videogamese answer for that depends on whoyou ask

StorytellingOccasionally individuals or publishinghouses develop video games that try to tellthe story of say Hamlet yet this is relativelyrare One example would be Elsinore a time-looping narrative adventure game set in the world of the play Players play the game as

Ophelia who wakes up knowing that in fourdays the entire court will be dead and shemust do something to stop ite problemis that she is stuck in a time loop reliving thesame four days over and over againat said Shakespearersquos presence in the

video game industry tends to be focused oncitation rather than adaptation of the playsat is video games for Xbox Playstationand other popular gaming systems often

just cite Shakespearersquos plays as a part of acommon cultural heritageese games donrsquotrestage say Hamlet but they quote the playIn these cases Shakespeare is used to establisha point of identification for the audience His writing tells the audience something aboutthe character or the situation

Given that audiences are supposedto be able to identify the quotations asShakespearean it is unsurprising that Hamlet is the most popular text for game designers to

cite Ine Elder Scrolls Online for instancea merchant NPC (non-player character)quotes Polonius when players interact sayingldquoNeither a borrower nor a lender berdquoe words establish the NPCrsquos role as a merchant while fitting the medieval world of thegame In the game LA Noire upon pickingup a fake shrunken head at a crime scene adetective leaps into high melodrama withldquoAlas poor Yorick I knew him Horatiordquoequotation and the clever voice acting establish

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Shakespeare video games

48 SHAKESPEARE magazine

the characterrsquos strait-laced yet macabre senseof humour

Sometimes citing Shakespeare is a partof a critique of a larger theme In the game Mass E ff ect the Elcor are a race of elephantinealiens who preface all statements with adescription of the emotion they are feelingand who speak in a slow monotonous drone As players interact with the expansive worldthey can discover a number of advertisementsfor an all-Elcor Hamlet e idea of theElcor actor ndash the ultimate in a flat woodenperformer ndash having to preface ldquoTo be or not

to berdquo with ldquomorose ruminationrdquo goes beyondthe simple humour of a bad Shakespeareperformance It subtly asks what it is aboutacting (and especially voice acting) that isvaluable

Shakespeare can appear in video gamesnot merely as a marker or contextualisationtool but as a part of a puzzle For example inthe game Silent Hill 3 players must arrange aset of Shakespeare anthologies on a bookshelfin an abandoned shopping mall in order to

proceed in the game At the hardest levelthe puzzle clue takes the form of a poemthat references all the major tragedies Romeoand Juliet King Lear Macbeth Othello andof course Hamlet e bloody nature of thetragedies fits with the bloody nature of theSilent Hill series of games which fall into thesurvival horror genre

Popular video games have also servedas the inspiration for games that engage with Shakespeare in a more direct way For

example Daniel Fischlin at the Universityof Guelph in Ontario Canada led a teamthat created a Flash game called rsquoSpeare Itrsquos

a scrolling arcade-style game suggesting thersquo80s hit Galaga which sees players identifyingand navigating through a series of enemies who turn into words upon being destroyede player progresses through the levelsby collecting the correct words to createShakespearean quotes learning Shakespeareantrivia along the way

ImmersionOne of the most exciting aspects of videogames is the ability to immerse the player inthe world of the game in a way that othermedia simply cannot do Being able to walkaround Prosperorsquos cell Julietrsquos balcony orto stand before the ghost of Hamletrsquos fatheras he cries out ldquoList list O listrdquo ndash theseexperiences are made possible through videogame technology

Students of Scenic Arts at the Universityof Hildesheim in Germany created Projekt ARIEL or SturmMOD in 2008 using a lsquomodrsquo(or modification) to the engine that runs

the game Far Cry 1 e performance artproject allowed users to experience Prosperorsquosisland interacting with certain parts andexploring others Players could walk aroundan imaginative rendition of Prosperorsquos cell and witness or interact with elements of the playincluding diff erent characters like CalibanProspero and Miranda

Four days to savethe Danish court

Elsinore

Another Hamlet reference this timein LA Noire

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Shakespeare video games

SHAKESPEARE magazine 49

Gina Bloom at the University of Californiaat Davis is presently spearheading a projectthat will be demonstrated in the lobby of theStratford Festival theatre in Ontario Canadathis summere project Play the Knave AShakespeare Performance Videogame lets usersdesign a virtual performance space and thenperform a scene from a Shakespeare playinhabiting this constructed space with anavatar As a Davis insider explains ldquoWe use akinect motion capture camera to capture theuserrsquos skeletal data so that players use theirentire bodies to control their avatarrsquos gesturesonscreen all the while reciting the lines from

Shakespearersquos scenerdquo is literally immersesthe players in the scene

Shakespearersquos Globe eatre in Londontook another tactic regarding immersionin the production of the game HemmingsrsquoPlay Company Hosted on the Playgroundportion of the Globersquos website and thusaimed at an audience of children the gamehas players taking on the role of Hemmingsan Elizabethan bear who leads a troupe oftheatrical animals such as Kit the Cat Dekker

the Dog and Slye the Foxe turn-based game leads players through

the vagaries of Elizabethan theatre practicefrom patronage to lost props and the plagueBy the end of the game players must earnenough money to rebuild the Globe after itburns down during a performance of HenryVIII

Also from Shakespearersquos Globe are twoinnovative video experiences created forchildren aged five to 11 e first Exploring

Shakespeare features two boys on a tour ofthe Globe theatre who sneak off to explorebackstage e video illustrates four plays

using short animations that are keyedto things the boys find backstage etechnology combines live action film andanimation to create an interactive touchablegame Filled with mini-games quizzes andinteresting facts about Shakespeare the gameallows players to click through the narrativeor to stop and learn more as they go along

e second video called Staging It usesthe same technology as the first film but thistime is for the 11-16 age group In this gamee Globe has filmed two actors performingfamous duologues from A MidsummerNightrsquos Dream and Macbeth on the Globestage Rather than shoot it once the actorshave performed their lines in diff erent ways(happy flirtatious defensive and so on)creating several diff erent clips per linePlayers can watch each of the clips and addtheir choice to a dynamic storyboard tobuild up their final scene Impressively theplatform allows for up to 1000000 diff erentcombinations of clips

Apps and Mini-GamesItrsquos when you start to look outside of therealm of popular video game platformslike Xbox or Playstation that Shakespeare

Silent Hill 3 Brush upyour Shakespeare ifyou want to survive

Hemmingsrsquo PlayCompany fromShakespearersquosGlobe

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Shakespeare video games

50 SHAKESPEARE magazine

really starts to pop up wherever you looke ubiquity of Shakespeare is especiallynoticeable when you start to look at apps andmini-games designed for phones and tablets

In 2012 Big Fish Games released aniPhone and iPad game called Hamlet that featured all the main characters ofShakespearersquos play but transposed them intoa save-the-princess narrative puzzle game A time traveller lands in Denmark andaccidentally kills Hamlet and so players mustcomplete his journey for him saving Opheliaand killing Claudiuse Shakespeareancontent is minimal and heavily adapted andyet it fits with the puzzle format in whichShakespeare tends to be found in videogamese Chronicles of Shakespeare Romeo amp

Juliet ande Chronicles of Shakespeare A Midsummer Nightrsquos Dream are lusciously-illustrated puzzle games for the PC In themplayers act as one of the characters from theplays gathering items and clues through aShakespearean environment

Among the literally thousands of appsrelated to Shakespeare that can be found forthe iPad or Android tablet are

e Shakespearean Insult Creator which generates invectives drawn from a wholly Shakespearean vocabulary So nexttime you want to call someone a jerk trysomething more like ldquoou fusty follyfallenfustilarianrdquo

e Shakespeare Translator whichtranslates ldquonormal English words and phrasesinto the words of Shakespeare himselfrdquo

e Shakespeare Fortune Cookie which provides short quotes from the plays

and a small trivia game Shakespeare or Die a game that

scrambles the words of famous quotationsfrom the plays and asks you to identify theplay and character who spoke the line If youmake a mistake however beware the witchesese apps are either explicitly games or

they are coming out of a game-like impulse tomake Shakespeare more accessible to everyone with an internet connection

Brave New WorldsIn a world where Shakespeare is an industrycounted in the millions of dollars per yearit is so easy to forget that Shakespearersquos playsare just that ndash playsere is a sense of joyand fun and happiness embedded in theexperience of watching them Games are oneof the ways that people over the centuries

have tried to recapture that elusive sense ofplayfulness within Shakespeare So it makesperfect sense that now with the advent ofdigital technologies Shakespeare is movinginto the digital world with a vengeance

From big studio games likee ElderScrolls to small apps that can be downloadedfor free from talking bears to immersiveperformance experiences Shakespeare iseverywhere in video games Rather than beingan undiscovered country into which the Bard

is only just beginning to emerge games havein fact engaged with Shakespeare and his works for hundreds of years And they willprobably continue to do so for hundreds ofyears to come

rsquoSpeare is a scrollingarcade-stylegame with addedShakespeare trivia

Hamlet is aShakespeare-themed puzzle fromBig Fish Games

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Meet thy makers

Helen Mears fell into bardolatryduring her teenage years and has

never recovered She is a volunteersteward at Shakespearersquos Globe

which ensures a regular diet of theBard She teaches English Film andMedia at Suffolk New College and isa specialist in teaching Shakespeareusing active methods Her favouriteShakespearean actor is Jamie Parker

and her favourite plays are the SecondHistory Tetralogy She hopes to

finish her Masters in the AdvancedTeaching of Shakespeare very soonFind her on Twitter hipster_hels

Paul F Cockburn is an Edinburgh-based freelance magazine journalist who specialises in writing about

arts and culture equality issues andpopular science Hersquos sufficiently

grey-haired for his English Literaturetraining to have sort of overlapped

with The BBC Television Shakespeareproject saving at least some of the

plays from death by academiaFind him on Twitter paulfcockburn

Jen Richardson first fell in love withShakespeare as a 15-year-old schoolgirl

ldquoHe got under my skin and hersquos still theretodayrdquo After training with a Manchester-based drama tutor she went on to pursuean acting career Drama remains a greatinterest but her focus is now on sharing

her passion for Shakespeare throughher writing In her spare time Jen is

generally down in Stratford-upon-Avonsitting on her favourite bench behind

Holy Trinity ChurchFind her on Twitter The_JenJen

Andrew Bretz is a sessional instructorof English Literature and Drama

specialising in early modern dramaHe has taught at Wilfrid LaurierUniversity the University of Guelph

Brock University and McMasterUniversity For the past two years he

has taught a special summer intensiveat Ontariorsquos Stratford Festival His PhDdissertation was on the representationof sexual violence on the early modern

stage Find him on TwitterAndrewBretz001

Just some of the contributors to this issue of Shakespeare Magazine

Rosalind Lyons is a painter whohas exhibited widely in both mixedand solo shows with work in UK

and international private collections A life-long love of Shakespeare isreflected in many of her paintings

and a particular recent focus isShakespearersquos Globe theatre where shespent a period as artist-in-residenceShe is currently studying for a PhD

in Painting and ShakespeareanTheatre at Anglia Ruskin University

in CambridgeFind her on Twitter roslyons

52 SHAKESPEARE magazine

Contributors

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Page 22: Shakespeare Magazine 08

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22 SHAKESPEARE magazine

Anne Hathawayrsquos Cottage A short distance from Stratford is Shottery where you can find the beautiful cottage

which was the home of the Hathaway familySet in yet another lovely garden this is thehouse in which Anne Hathaway grew upand was courted by the young William JohnShakespeare served with Anne Hathawayrsquosfather on the town council so their childrenprobably knew each other from a young agee family remained associated with thecottage for several centuries and have spunmany a yarn about the young lovers theveracity of which are highly questionable

However the stone floor of the kitchen isoriginal and we know that William must have walked those stones many many times

Mary Ardenrsquos Farme last of the Shakespeare properties is Mary Ardenrsquos Farm Shakespearersquos mother lived hereand itrsquos where she probably took the infant William when plague broke out in Stratfordshortly after his birth Open from March toNovember only the farm is run as a working

Tudor farm with costumed guides caring forthe buildings and the animals Itrsquos a great placefor a family day out with plenty to see and doand numerous activities runningere are

daily falconry shows archery animals to feedand games to play You can even treat yourselfto a genuine Tudor meal in the cafe ndash pottageand home-baked breads are a speciality

What if you donrsquot have a care town itself is fairly small and all themain attractions are within walking distanceHowever the easiest way to get around and toenable a visit to Anne Hathawayrsquos Cottage andMary Ardenrsquos farm is to the Hop On-Hop Off City Sightseeing busis will take you to allthe main town locations and also to Shotteryand Wilmcote A day ticket will give youunlimited access to the buses and allow you tovisit all of the Shakespeare properties e buscan be picked up by the statue of Touchstonethe jester at the top end of Henley Street

Walking Tours Another excellent way to see the main sites ofStratford and to learn some of the historicaltales of the town is to take a walking tour

Stratford-upon-Avon

Anne HathawayrsquosCottage

Mary Ardenrsquos Farm

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ere are several options depending on thetype of tour yoursquod likee town guides runhistorical tours of the town every day (yesevery day) of the year For those who like to be

a bit more daring there are evening ghost walksled by costumed guides who will tell you someof the spooky tales of Stratford Both of thesetours start from the Swan Water Fountain onthe riverside

Or if you like the idea of being guidedby Shakespeare himself on a Saturday (andMonday to Saturday through the summerholidays) there are town walks led by the manhimself (or someone who looks an awful lotlike him)ese run from Tudor World onSheep Street an interesting museum in thehouse that belonged to the man who wasallegedly the model for Sir John Falsta ff

Holy Trinity Church Another must-see is the townrsquos 13th centurychurch with its distinctive spire that dominatesthe view from the river Remember that if youhave a ticket to the Birthplace properties yourvisit to the grave is free e church is famousfor being where William Shakespeare wasbaptised on 26 April 1564 e old font that

was used for the baptism is displayed in thechancel along with copies of both the registerof baptism for April 1564 and the register ofburials for April 1616 where Shakespearersquosname can be clearly seen Also in the chancelin front of the altar are the Shakespeare familygraves Williamrsquos bears its infamous curse

ldquoGOOD FRIEND FOR JESUSSAKE FOREBEAR

TO DIGG THE DVST

ENCLOSED HEREBLESTE BE YE MAN YT SPARESTHESE STONES

AND CURSED BE HE YT MOVESMY BONESrdquo

On the wall above the grave is the effigy of

Shakespeare Itrsquos one of the few images which was produced within the lifetime of AnneShakespeare and probably one of the mostauthentic likenesses of her husband

The Guildhall and King EdwardrsquosSchoolDirectly opposite the site of New Place standthe Guildhall and the townrsquos old grammarschool Both of these places have links to theShakespeare family King Edwardrsquos Schoolis where the young William is believed tohave studied and itrsquos probably where hefirst encountered the classical texts which soinspired him As the son of a town councillorhe would have been entitled to a placee

old school is sometimes open to visitors at weekends or during the holidays but theschool has just won a lottery grant whichshould enable them to open it as a permanentattraction e Guildhall was sometimes hostto groups of travelling players and so it couldbe the site where young William first sawtheatrical performances It is widely believedthat John Shakespeare owing to his role astown bailiff was responsible for supervising the whitewashing of the medieval Doom Painting

Stratford-upon-Avon

SHAKESPEARE magazine 23

The GuildhallDoom Painting

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24 SHAKESPEARE magazine

Stratford-upon-Avon

is has been recovered and is now once againvisible above the chancel arch

The Royal Shakespeare CompanyTheatre and the riversidee riverside park is home to several interestingsights It is from here that you can get a view ofthe Clopton Bridge pick up a river cruise feedthe swans and admire the Gower Memoriale memorial was presented to the town in1888 and features a statue of Shakespeareseated upon a plinth overlooking statues offour of his best known charactersese areHamlet Prince Hal Sir John Falsta ff and Lady

Macbeth who represent Comedy HistoryPhilosophy and Tragedy Closer to the theatreis the beautiful Swan Water Fountain unveiledin 1996 If you see the water frothing fear notit seems to be a sport amongst local youngstersto fill the fountain with washing up liquid on aregular basis

e Royal Shakespeare Companyeatre was built in 1932 but has recently undergonea complete refurbishment in both the mainand the Swan theatres e building reopened

in 2010 with both theatres having beenconverted to boast thrust stages and curvedgalleries similar in shape to the originalElizabethan playhousese world renowned

Royal Shakespeare Company performshere throughout the year staging plays byShakespeare and his contemporaries as well asby newer authors ey also run an educationprogramme exhibitions family activitiesduring the school holidays and theatre toursTo see Stratford from an entirely diff erentangle take the lift up the 36 metre high towerfor spectacular views across the town

Where to eat and drinkStratford has an excellent range of eateriesto suit all tastes and budgets ere is pubgrub afternoon teas world cuisine finedining pizza pasta and fish and chips Manyrestaurants off er pre-theatre menus and ifyoursquove been on a town walk you may find thatyou can get discount vouchers for your foodere are many pubs in Stratford including theGarrick Inn the oldest pub in the town whereyou can taste the Shakesbeer specially brewedto celebrate Shakespearersquos 450th Birthday in2014 If you want to spot RSC cast members

relaxing after their showse Dirty Duck on Waterside is the place to drink

Where to stay Again Stratford-upon-Avon has a good varietyof hotels bed and breakfasts and holidayhomes All the main chains have hotels inthe town from budget brands to the luxurynamesere is an excellent choice of bedand breakfast establishments in and aroundthe town again these will suit all tastes and

budgets Airbnb also has an interesting rangeof rooms flats and houses to rent in StratfordHowever be sure to book early especially forthe prime summer months

The Shakespeare Birthplace Trustwwwshakespeareorguk

The GowerMemorial Will andPrince Hal

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M

any places around the worldhave been named afterStratford-upon-Avon thebirthplace and home of William

Shakespeare And many of those Stratfordsare home to theatre festivals of varying sizesStratford in the state of Victoria in Australiahas an annual Shakespeare festival still goingevery year while Stratford in Connecticut inthe USA had a major theatre from the mid1950s to the mid 1980s Stratford Ontarioin Canada however stands out among thesetowns and festivals not merely in scope but ininternational reputation and prestige

In 1950 Canada had no home-growntradition of classical theatre Certainly

Shakespeare was performed but there hadbeen a strong anti-theatrical movement inCanada throughout the 19th century whoseeffects still lingered throughout the first half ofthe 20th As a cultural icon Shakespeare wasedifying to be sure but certainly not to beperformed The Stratford Festival changed allof that for Canada

In the late 1940s the local newspapers andgovernment of the town conceived of the ideaof revitalising Stratfordrsquos sagging economy by

capitalising on the name of the town and its

long association with the Bard They bandedtogether and under the leadership of TomPatterson they brought over Tyrone Guthrieand Alec Guinness for the first season in1953 Guthrie had famously directed Gielgud

inHamlet

at Elsinore Castle in Denmarkand had been the manager of the Old Vic inLondon He wanted to create an acting spacethat echoed the original Globe theatre whereactors were surrounded by the audience incontrast to the proscenium arch theatres thatdominated the London and New York scenes

From the first performance which tookplace inside a giant circus-style tent on thebanks of the Avon River the festival workedto create a new aesthetic of Shakespeareanperformance The thrust stage of the FestivalTheatre designed by Tanya Moiseiwitschhas been recognised as one of the greatinnovations in stage design of the 20th centuryGenerations of actors have had to learn howto address an audience on three sides of themsometimes only an armrsquos length away

The festival has been central to the careersof Canadian actors such as ChristopherPlummer Martha Henry and even WilliamShatner Actors from the US and UK havesought to play the festival as well including

Peter Ustinov Christopher Walken and JessicaTandy Indeed these international stars notonly lend credibility but have indelibly markedthe festival For instance Maggie Smithrsquosperformance as Rosalind in As You Like It inthe 1977 and 1978 seasons is legendary in thecompany and the town

Today the festival has expanded to includemultiple performance spaces a theatre schooluniversity accredited courses and the largesttheatrical costume shop in North America

It has started countless careers inspiredcompanies such as Torontorsquos SoulpepperTheatre and helped shape the Canadiantheatre landscape for over 50 years

Stratford Festival ndash Ontario Canada

wwwstratfordfestivalca

MEANWHILE

IN CANADATherersquos more than just one Stratford you knowAnd the one in Ontario Canada has a world-renownedShakespeare Festival gives us a tour

Stratford Ontario

SHAKESPEARE magazine 25

ldquoFrom the fi rst performancethe Festival worked tocreate a new aesthetic ofShakespearean performancerdquo

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Planning to performa short selection

from Shakespeare

The 30-Minute Shakespeare

Anthology contains 18 abridged

scenes including monologues from

18 of Shakespearersquos best-known plays

Every scene features interpretive stage

directions and detailed performance

and monologue notes all ldquoroad testedrdquo

at the Folger Shakespeare Libraryrsquos

annual Student Shakespeare Festival

THE 30-MINUTE SHAKESPEARE is an acclaimed series of abridgments that tell the story of each play while keeping the beauty ofShakespearersquos language intacte scenes and monologues in this anthology have been selected with both teachers and students inmind providing a complete toolkit for an unforgettable performance audition or competition

NICK NEWLIN has performed a comedy and variety act for international audiences for more than 30 years Since 1996 he hasconducted an annual teaching artist residency with the Folger Shakespeare Library in Washington DC

The 30-Minute Shakespeare series is available in print and ebook format at retailersand as downloadable PDFs from 30MinuteShakespearecom

The 30-Minute Shakespeare Anthology

includes one scene with monologue

from each of these plays

ldquoLays the groundwork for a truly fun and sometimes magical

experience guided by a sagacious knowledgeable and intuitive

educator Newlin is a staunch advocate for students learning

Shakespeare through performancerdquo mdashLibrary Journal

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Roaslind Lyons

28 SHAKESPEARE magazine

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For UK artist Rosalind Lyons the Bard is a

constant presence in her creative life She tells

us how Shakespeare inspired the haunting and

dreamlike works that adorn these pages

Words and paintings by Rosalind Lyons

Rosalind Lyons

SHAKESPEARE magazine 29

Left TheRoaring Boys

PAINTINGSHAKESPEARE

S hakespeare has long been at the heart ofmy work sometimes directly and obviouslyin the subjects and often in the titlesBut always Shakespearersquos words charactersand stories are there in my head when Iam painting ndash a perpetual conscious andunconscious presence

My style echoes that of the Renaissancepainters and Elizabethan portraits andthese influences combined with a life-long love of Shakespeare made my firstvisit to Shakespearersquos Globe pivotal Iexperienced a powerful sense of connectionand recognition Here suddenly ideasand themes with which I had been so longpreoccupied were brought to life

I subsequently gained access to theGlobe to draw and later spent some time

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as Artist in Residence thereat experienceprompted more in-depth exploration notonly of Shakespeare and painting but of therelationship between painting and theatreere are of course the strong visualconnections ndash both are spaces for spectacleand illusion But also compelling ideas oftransformation imagination storytelling andidentity And overall the theme of ambiguitye blurring of boundaries between realityand fiction male and female light andshadow past and present I am fascinated byhow we respond to history how we re-presentand re-imagine the past And the figures inmy paintings are imagined as belonging toboth now and then ndash flitting back and forthacross the threshold between past and presentbetween Shakespearersquos time and our own

modern worldI have painted some specific characters

from Shakespeare but many subjects ofmy paintings are anonymouse figuresare unknown their place purpose role is amysteryis anonymity is unsettlingereare clues in the setting in the costumes ndash orperhaps I should just say in the clothes theyare wearing ndash but the context is not obviousI am fascinated by the dramatic convention ofcross-dressing ndash and particularly the inherent

confusion as with Rosalind ( As You Like It )and Viola (Twelfth Night ) in the idea of aboy playing a girl playing a boy Many of thecharacters I invent are androgynous theirgender and age uncertainis ambiguityof identity interests me in the context ofvisual illusion and theatrical transformationthe idea of inbetween-ness and somethingunresolved

Like theatre my paintings are concerned with inventing characters and the creation

Right No MoreYielding But A

Dream

Roaslind Lyons

30 SHAKESPEARE magazine

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of an imaginary world and I am particularlyattracted to the fools fairies and witchesIn A Midsummer Nightrsquos Dream the fairiesrsquoactions may seem malevolent or benign or just mischievous but there is definitely a dark

side an underlying sense of threate Fool too is intriguing Shakespearersquosfools frequently describe themselvesor are referred to as a nobody but areunquestionably much moree fool is anoutsider concerned with but at the same timeseparate from the story He ndash or sometimesshe ndash doesnrsquot quite belong anywhere butseems to exist on the boundary between thefamiliar and the uncanny

I am attracted to the strange to mysteryand shadows and try to express through myimages a strong feeling that it could be thator maybe something else As Orsino says atthe conclusion of Twelfth Night ldquoA naturalperspective that is and is notrdquo While makinga painting and even when it is finished Idonrsquot know really who my characters are ndashthey remain elusive But I like not knowingand ultimately meanings always change anddepend on individual perceptions

My experience at the Globe led to aparticular fascination with the ambiguous and

protean quality of the theatrical performerhow their identity transforms and fluctuatesI was attracted by this when watching

Rosalind Lyons

SHAKESPEARE magazine 31

Above A MidwinterNightrsquos Dream

Right Three Fools

Far right FollowingDarkness

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rehearsals observing actors shift between selfand impersonation between diff erent realitiesand identities When they are not acting theyndash metaphorically and often literally ndash melt

into the shadows I am interested too in thephysical and symbolic threshold between lsquoonrsquoand lsquooff rsquo-stage the transformation inherentin an actor moving from the wings onto thestage assuming another self and anotheridentity Particularly evocative is the fact thatactors were colloquially known as shadowsin the Elizabethan playhouses ndash suggestingsomething unknowable and insubstantialIn the Prologue to Henry V Shakespeare hasthe Chorus describe the players as lsquociphersrsquoimplying deception and secrecy

Artists in the past who have tackledShakespeare have generally produced imagesthat directly illustrate the text or representfamous actors or scenes from a particularperformance Today as well as on the stageShakespearersquos plays are frequently re-imaginedin very successful film and TV adaptationsbut I have struggled to find more than ahandful of contemporary fine artists whohave engaged with Shakespeare on any levelPerhaps Shakespeare as a subject is seen

by some as too traditional too lsquopopularrsquoor simply just too lsquooldrsquo But in the theatreand in literature there is an ever-increasingenthusiasm for innovative interpretationsof the plays and for me Shakespeare is aconstant inspiration

e Prologue of Henry V also urges theaudience to ldquoPiece out our imperfections withyour thoughtsrdquo to liberate the imaginationand create another kind of reality to shapeour own fantasies within the ldquowooden Ordquo of

the theatre In my paintings I endeavour todo the same

Explore the work of Rosalind Lyons atwwwrosalindlyonscom

Above These Two CreaturesBelow Therersquos Magic In Thy Majesty

Roaslind Lyons

32 SHAKESPEARE magazine

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$amp( ) +-01

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Aidan OrsquoReilly

34 SHAKESPEARE magazine

Looking forRichard AidanOrsquoReilly is playingShakespearersquosbaddest monarch

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Aidan OrsquoReilly

SHAKESPEARE magazine 35

You are legally blind having been

diagnosed with retinoblastoma as an

infant How did this impact on your

acting aspirations and early career

ldquoMy parents did a good job raising me Inever grew up thinking of it as a handicap orthinking it could hold me back from what I wanted to do I couldnrsquot play sports at all soI think my parents were grateful that I hadsomething that I was passionate about from avery young age

ldquoI went to a public elementary school with a program designed for the blind so itfelt very natural for me to be the way that I was And acting has always been part of thatrdquo

You went to RADA in London Was

there a reason why you wanted to

train in England and not in the US

ldquoItrsquos always been an ambition of mine to

travel as far and wide as possible Also myhero growing up was Peter OrsquoToole ndash Iread his autobiography in high school andlearned he had gone to RADA and decided I wanted to go there too So I auditioned therenot knowing that RADA is arguably thebest drama school in the English-speaking world Consequently I was quite relaxed atthe audition which is probably why I gotin My ignorance can sometimes serve me well Going to RADA was a life-changing

Aidan OrsquoReilly is an actor with an

inspiring story Legally blind since he

was six months old he forged a passionfor drama at an early age Aidan went

on to gain a BA with honours from

Londonrsquos Royal Academy of Dramatic

Art before touring for three years with

the American Shakespeare Center

In 2012 Aidan was diagnosed with

sarcoma a rare cancer He bounced

back in 2014 after intensive treatment

and is now cancer-free We spoke to

Aidan as he prepared to play the title

role in Richard III for Californiarsquos Marin

Shakespeare Company We asked himto share his story and to give us his

take on one of Shakespearersquos most

fascinating characters

Interview by Jen Richardson

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Aidan OrsquoReilly

36 SHAKESPEARE magazine

experience I was lucky enough to havecontact with brilliant professors and Irsquom stillin awe of the students I went to school withI wouldnrsquot trade that experience for anythingrdquo After graduating from RADA you

went on the road with the American

Shakespeare Center Tell us a bit

about that

ldquoThat was one of the happiest times of mylife In many ways I got spoiled I was a working actor 11 months out of the yeartouring nationally seeing parts of the USI had never been to before doing plays Iloved and working with directors who werevehemently faithful and respectful to the text When I wasnrsquot on the road I was in residenceat the Blackfriars Playhouse in StauntonVirginia with many extraordinary actorsI was very lucky to be thererdquo

Three years ago you were diagnosed

with sarcoma How did you

overcome this enormous challenge

and return to the stage in 2014

ldquoThe only reason Irsquom still alive is because ofmy mother Lily and my wife Jocelynn AlsoI was fortunate that we caught it before it hadspread and it was on my leg and away fromany major organs

ldquoI am very grateful for my team of doctorsat UCSF who did an incredible job in mytreatment and follow-up care Irsquom glad to beback to workrdquo Yoursquore now due to play Richard III

with Marin Shakespeare Company

Howrsquos it going so far

ldquoAt this point Irsquom in the paperwork stage

of things A lot of reading the HenryVI s biographies of Richard as well asperformance history of the play itself Irsquomdoing a fair amount of limping around myapartment as well I canrsquot wait to get intorehearsals next weekrdquo Tell us about Marin Shakespeare

Company and what appealed to you

about working with them

ldquoRobert and Lesley [Currier MSCrsquos Artistic

Director and Managing Director] arefascinating people Their intelligence andhumour is contagious Without questionthere is a lot to be learned from themrdquo Richard IIIrsquos remains were discovered

in 2012 and reburied this year Is all

the new information about Richard

influencing your portrayal

ldquoYes and no My job isnrsquot to play the historicalRichard but the Richard that Shakespeare has

Aidan believesthat Richard IIIrsquosobsession withcontrol is whatcauses his downfall

ldquoPeter OrsquoToole wasmy hero He went to

RADA so I wanted to go there toordquo

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Crowning gloryAidan with MarinShakespearersquosRobert Currier

created Itrsquos helpful to know the facts of thesituation in order to gain insight into whathas been changed in Shakespearersquos versionof events

ldquoI met with a friend of mine who is a

retired surgeon who walked me through themedical information that has come to lighton Richardrsquos body and I will certainly usethat to inform my physical choicesrdquo Unlike many actors yoursquore the right

age to play the historical Richard III

Do you feel Richardrsquos relative youth

has been overlooked

ldquoI do Richard is a young man who believeshe is hardened by the experiences he andhis family endured during the War of theRoses and believes himself to be beyondhuman emotions and the lsquorestrictionsrsquo of aconscience He isnrsquot He pays the bill for thehorrible things he does That lack of self-knowledge is not exclusive to youth but I feelit makes him more sympathetic and relatableto an audiencerdquo Some people think Richard III shows

Shakespeare delivering a highly

effective piece of Tudor propaganda

Where do you stand on thatldquoI think Shakespeare has a soft spot foroutsiders and underdogs Although his playssometimes work within the confines of thebiases of Elizabethan society he canrsquot help butmake his lsquovillainsrsquo fascinating human beings

For as horrible as Richard is itrsquos amazing tosee how audiences relate and respond to himrdquo Which other important themes do

you feel Shakespeare deals with in

the playldquoThe history plays are full of extraordinarypeople who waste their lives and intelligence who sacrifice their humanity in pursuit of thecrown Itrsquos still happening today What is theattraction of power Richard never pauses tothink of why he wants the crown or if hersquodbe any good as king Turns out hersquos not butitrsquos this bizarre obsession with control thatpropels him to kill everyone off thatrsquos in his way Itrsquos also fascinating that the one characterthat is consistently kind to Richard is hisfather York

ldquoI think an argument can be made thatRichard in his warped way is trying to liveup to the image he has of his father Ofcourse York is dead and gone by the timeRichard III begins but you can glean a lotabout Richardrsquos inner workings in the way hespeaks about his father Of course itrsquos foolishto try to answer questions that Shakespearedoesnrsquot and Irsquom not trying to say this solvesa mystery but I think itrsquos interesting Itrsquos only

an element itrsquos not the answerrdquo Richard III is listed as a historical

play in the First Folio but in the

quarto edition it is termed a tragedy

Which category would you put the

play in and why

ldquoI think of the history plays from Richard II to Richard III as one vast play an epic thatencompasses all the categories I think if youlook at Richardrsquos progression through those

plays you see a great mind warped by the War of the Roses and that certainly adds tothe tragic element I think of Richard III asthe final chapter of a great epicrdquo

Aidan OrsquoReilly stars in Marin ShakespeareCompanyrsquos Richard III from 4-27 September

Aidan OrsquoReilly

SHAKESPEARE magazine 37

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Scotland Shakes

SHAKESPEARE magazine 39

Bonnie Prince

Brian Fergusonas Hamlet in theCitizens Theatre

production Photoby Tim Morozzo

Billy William Shakespeare is undoubtedly Englandrsquos

Bard But how is he viewed north of the border

Our Caledonian correspondent surveys the state

of Shakespeare in Scotland and meets esteemed

outdoor theatre company Bard in the Botanics

Words Paul F Cockburn

T owards the end of May thisyear a BBC Scotland afternoon

news bulletin surprisinglyturned its attention to aforthcoming production of

ldquoone of William Shakespearersquos best lovedplaysrdquo ndash A Midsummer Nightrsquos DreamHowever this particular production wasnrsquotconsidered newsworthy because it came froman amateur group based in Dumfries andGalloway Not even that the CrossmichaelDrama Club were one of just seven amateurScottish groups taking part in the Royal

Shakespeare Companyrsquos Open Stages project which aims to help amateur companies

extend their repertoiresNo the lsquohookrsquo was how this newproduction was Shakespeare ldquobut no asyou micht ken itrdquo Because it had beenreimagined in Scots as A MidsimmerNichtrsquos Dreme

As it happens writer John Burns saysthat his principle reason for translating AMidsimmer Nichtrsquos Dreme was simply theintuition that it being in Scots would workto the benefit of the production ldquoItrsquos not

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Scotland Shakes

40 SHAKESPEARE magazine

so much that 16th century English canrsquot docertain things more that using Scots brings itcloser to a Scottish audience and to audiences who might think Shakespeare too fancyrdquo hesays ldquoI feel too that Scots can catch the sheerphysical power of Shakespearersquos language He writes lines you really feel physically when

you say them out loud My intention was touse Scots to produce a text that was actableand which would be accessible and enjoyablefor the audience and the Scots was a majorpart of thatrdquo

Arguably translating Shakespeare intoScots ndash viewed by many as a distinct languagefrom English ndash is just one way of finding thecontinued relevancies of Shakespearersquos writing with the here and now Certainly John Burns was keen to see if Scots ldquocould match the way

Shakespeare switches tonehellip from broad attimes bawdy humour to moments that aremore serious or even sinisterrdquo

Yet there is a wider perspective whether wersquore discussing translation into Scots orsaying Shakespearersquos words with a Scottishaccent Willy Maley and Andrew Murphyin their introduction to Shakespeare andScotland (published by Manchester UniversityPress in 2004) go as far as describing thetranslation of Shakespearersquos Macbeth into

Scots as ldquoa patriotic actrdquo not least becauseof ldquothe political commitment implicit intranslating from English to Scots reversing

the dominant dubbing practice infi

lmsrdquoGlasgow-based novelist and playwright Alan Bissett ndash who actively campaigned fora Yes vote during last yearrsquos IndependenceReferendum ndash has since written about howsince the 1970s Scottish theatre had ldquoadeep engagement with the shifting beastof Scottish politicsrdquo Although Bissett wasfocusing primarily on original works byScottish playwrights and directors itrsquos worthpointing out that Shakespeare ndash despite therebeing absolutely no evidence to prove he evertravelled north of Carlisle ndash has played hisown part in this

As Maley and Murphy point outldquoScotlandhellip never had precisely the samerelationship with the Bard as England hasbut has experienced a fraught process ofappropriation incorporation and resistancerdquoIn part this is because Shakespeare ndash in hislatter career ndash was among the first lsquoBritishrsquo writers Many of his later plays ndash Cymbeline King Lear even Hamlet ndash were produced

A tartan-cladAntipholus andDromio in Bard inthe Botanicsrsquo TheComedy of Errors

Brian FergusonrsquosHamlet CitizensTheatre productionPhoto by TimMorozzo

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under the patronage of Scotlandrsquos King JamesVI (aka James I of England) Each in theirown way can be said to touch on ldquothe matterof Britainrdquo the complex relationship between

the constituent elements of Jamesrsquos newlsquounitedrsquo kingdom which the Stuart monarch was determined to see joined into oneat never quite happened of course

Even after the 1707 Act of UnionScotland retained its own legal educationaland religious systems along with anaccompanying sense of Scottish identity ndash which survived even the height of the Britishempire Yet from the 1970s on there havebeen notable changes in how Shakespeareis treated by Scotlandrsquos producing theatrecompanies Several years ago GlasgowrsquosCitizenseatre delivered a powerful Romeoand Juliet in part because of their decision toset the action in a present-day sectarian Westof Scotland ndash with accents to match

ldquoEnglish-accented Shakespeare carriesa specific resonance in Scotland one thatdirectors usually choose to avoidrdquo pointsout Mark Fisher a freelance journalist criticand author of the forthcoming book How toWrite Abouteatre

ldquoIrsquom not sure exactly when attitudesstarted to change but Irsquod say the argumentin favour of Scottish-accented productionshad been pretty much won by the 1990sBy that time companies such as Raindogand directors such as Hamish Glen hadbeen making a point of casting very Scottishproductions of Shakespearerdquo

One example of how things hadprogressed even by 1992 was the late KennyIrelandrsquos production of A Midsummer

Nightrsquos Dream his first as Artistic Directorat Edinburghrsquos Royal Lyceum ldquoHe castthe mechanicals with Scottish accents andeveryone else with English accentsrdquo MarkFisher explains ldquois I said in my review wasa fundamental error ndash or some such phrasee message it sent out was that people withScottish accents were foolish figures of fun whereas people with English accents wereserious figures of respect

ldquoIreland reacted furiously to my review

and made the case that he had based thecasting of the mechanicals around (the actor) Andy Gray who has a Scottish accent Inother words the meaning I inferred hadnot been deliberate I think itrsquos true to sayhowever that Ireland never cast a Shakespearelike that againrdquo

Gordon Barr is Artistic Director of

Glasgow-based Bard in the BotanicsScotlandrsquos only professional Shakespearecompany (see following pages)

ldquoWersquove never gone out of our way tomake Scottish versions of these texts norhave we gone out of our way to have classicaltraditional voicesrdquo he says ldquoMost of our coreactors have made their careers up here so wethink of them as Scottish actors

ldquoat is important to us to not overlylook outwards for the acting company As

much as possible we work with people who are based in Scotland Wersquore regularlyproducing Shakespeare here and we want tobe a part of the training to ensure that there isa range of strong classical actors hererdquo

Citizens Theatrewwwcitzcouk

Owen Whitehawas the Fool andDavid Hayman asLear in CitizensTheatrersquos King Lear Photo by TimMorozzo

Scotland Shakes

SHAKESPEARE magazine 41

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Bard in theBotanicsrsquo As You Like

It takes Rosalind andOrlando into theopen air

ldquoTouring is something that we have wanted to do foryears but was somethingthat we could not afford

to do without fundingrdquo says Gordon Barr Artistic Director of Scotlandrsquos only professionaloutdoor Shakespeare festival Bard in theBotanics If therersquos any irony attached tothe companyrsquos first major tour of Scotland which took place in early 2015 itrsquos that theperformances of their acclaimed Romeo and Juliet ndash featuring a cast of five ndash were playedexclusively indoors

ldquoNobody is touring classical theatre in

Scotland at the minute so itrsquos importantto usrdquo Barr adds ldquoOur work is so muchabout accessibility One of the joys of beingoutdoors is that people come to see the work who wouldnrsquot buy a ticket for a theatre Ifyou can bring a picnic sit out on the grass while watching the show it feels easier moreaccessible But people canrsquot come from Thursoto Glasgow for a night just to see a productionof Shakespeare They should be able to see itin Thurso So that is kind of where the urge totour came fromrdquo

Bard in the Botanics has presented outdoorShakespeare within the grounds of GlasgowrsquosBotanic Gardens since 2003 This yearrsquoslsquoUnlikely Wondersrsquo season presented newproductions of Loversquos Labourrsquos Lost The Merchant of Venice Richard II and A Midsummer Nightrsquos Dream in lsquoreprsquo between24 June and 1 August

The companyrsquos founder Scott PalmerBarr explains had done a lot of his training atthe Oregon Shakespeare Festival one of the

biggest in North America ldquoWith the kindof drive and enthusiasm that only Americanshave he managed to convince the entire cityof Glasgow that outdoor Shakespeare would work and that the weather wasnrsquot going to be

a problemrdquoTwo years later Palmer moved on and Barr

ndash originally involved as a director ndash succeededhim as Artistic Director ldquoIf anyone then hadsaid that I would end up spending 12 yearsrunning an outdoor Shakespeare festival I wouldnrsquot have believed themrdquo he says in hisoffice hidden behind some of the Botanicsrsquogardening sheds ldquoI very quickly fell in love with it once I started working here Despiteall the trials and tribulations that outdoortheatre in Scotland brings with it therersquos just

something magical and special about it Itrsquos a very close-knit company and thatrsquos sort of keptus all here as long as we have beenrdquo

While the annual summer season ofShakespeare plays in the Botanics will remainat the centre of what the company does ndashldquoOtherwise Bard in the Botanics becomesa rather strange namerdquo ndash Barr is very much

Outof theGarden

This year has seen Glasgowrsquos Bard in the Botanicsdo something completely unexpected They wentout on a tour of ndash whisper it ndash indoor venueshellip

Scotland Shakes

42 SHAKESPEARE magazine

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Scotland Shakes

SHAKESPEARE magazine 43

focused on building on the touring side ldquoBecause it was our first ever tour we

did end up taking Romeo and Juliet to theestablished Scottish touring circuitrdquo he addsldquoIt takes a while to build up relationships with the smaller venues thatrsquos going to bean ongoing process for us Even so we weretaking Romeo and Juliet to places like Mulland Stranraer ndash communities and venues thathavenrsquot had a lot of classical theatre comingthrough themrdquo

The choice of play was deliberate too ldquoIt was a production that was ready to go whichhad received five star reviews and sold out itsextended run in the Botanics in 2012 So weknew that the work was good but therersquos nodoubt that for a first tour we wanted to makeit easier for the venues to sell it Most venuesknow they can find an audience for Romeo and Juliet rdquo

In time he hopes that audiences aroundthe rest of Scotland will come to trust the Bardin the Botanics name sufficiently to take on theless familiar plays

ldquoYou just donrsquot know how quickly acommunity is going to turn out for Henry IV yetrdquo he says ldquoHopefully three or four toursdown the line theyrsquore going to turn out forBard in the Botanics ndash and if it happens to be

Henry IV well thatrsquos greatrdquoGiven their reimagining of A MidsummerNightrsquos Dream as a 1920s burlesque musicalis there a particular Bard in the Botanicsapproach to Shakespeare

ldquoOur kind of unofficial motto is lsquoBe BoldBe Braversquordquo Barr says ldquoIf wersquore continuingto stage these plays around 400 years afterShakespearersquos death I think therersquos an urgencyto ask lsquoWhyrsquo It is important to questionlsquoWhat is the story that we want to tellrsquo I wantto see how these plays intersect with historyand todayrsquos society not to present museumpieces

ldquoItrsquos always with an eye to try to releasesomething thatrsquos within the textrdquo Barrinsists ldquoWersquore not remotely interested ininnovation for innovationrsquos sake The playsare masterpieces thatrsquos essentially why wersquorestill doing them 400 years later But to revealsomething thatrsquos unexpected or new thatrsquosimportant to usrdquo

Bard in the Botanics

wwwbardinthebotanicscouk

Rosalind and Audreyin the forest Bardin the Botanicsrsquo As You Like It

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Shakespeare at the Tobacco Factory stf 2016 Seasonco-production with Tobacco Factory Theatres

HAMLETBy William Shakespeare

Directed by Andrew Hilton

Main run Thu 11 February ndash Sat 26 March 2016

In repertoire with Allrsquos Well That Ends WellMon 25 ndash Wed 27 April Sat 30 April 2016

The most famous play in world drama Hamlet

turns a new face to every decade So many

elements - political madness sex murder ndash all

brought together in a drama that is both a thriller

and the profoundest meditation on our human

condition

ldquoThrilling workrdquo The Guardian on Romeo amp Juliet

ldquoBullseyerdquo WhatsOnStage on Romeo amp Juliet

Shakespeare at the Tobacco Factory Friends Priority Booking opens Wed 23 September 10am

wwwstf-theatreorguk

Tobacco Factory Theatres Members Priority Booking opens Wed 16 September 10am

wwwtobaccofactorytheatrescom

Public Booking opens Wed 30 September 10am

Tobacco Factory Box Office 0117 902 0344

ALLrsquoS WELL THAT ENDS WELLBy William Shakespeare

Directed by Andrew Hilton

Main run Thu 31 March ndash Sat 23 April 2016

In repertoire with Hamlet

Thu 28 ndash Fri 29 April Sat 30 April

A young woman using skills bequeathed herby her father saves the French Kingrsquos life and

is rewarded with the right to choose her own

husband But what if the chosen one wonrsquot play

the game How can she get him into bed How

can she make him love her

ldquo There is something approaching real

magic hererdquo The Arts Desk on The School for Scandal

P h o t o s M

a r k D o u e t

Dorothea MyerBennett in Richard III

Benjamin Whitrowand Julia Hills in The

School For Scandal

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Having conquered

Hollywood and vanquished

the global entertainment

industry video games now

on our culture So where

does the Bard stand in all of

this We sent a Shakespeare

scholar to investigatehellip

Words Andrew Bretz

Shakespeare video games

46 SHAKESPEARE magazine

T eGamersquos A oot Silent Hill is one

big-name gamewhich includesShakespearereferences

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Shakespeare video games

SHAKESPEARE magazine 47

German cardboard Macbeth datingfrom the early1800s

Hamlet reimaginedRyan Northrsquos To Be

Or Not To Be

W

hen you walk intothe wood panelled Victorian Gothicismof the Gail Kern Paster

Reading Room at theFolger Shakespeare Library in WashingtonDC video games are probably the lastthing on your mind Buried deep withinthe archives however are a set of fragilecardboard figures printed in Germany in theearly 1800s representing each of the maincharacters of Macbeth

Nineteenth century German children would play with these figures on smallcardboard stages no bigger than a dollhouseey could replicate the story as it was toldin Shakespeare or use their imagination tochange the ending letting Lady Macbethsurvive and bringing Duncan back from thedead if they so chosee limits of the game were the limits of their imagination

Today the lsquogamificationrsquo of Shakespeareis a big business from Ryan Northrsquos choose-your-own-adventure edition of Hamlet To Be Or Not To Be to IDW Gamesrsquosupcoming Kill Shakespeare board gamebased on the comic of the same name

Gamifying Shakespeare is filtering intoschools libraries and the theatrical worldas well with the University of California atDavis the Stratford Festival in Ontario theGlobeeatre in London and the LondonMetropolitan Archives all experimenting with video game elements in exhibits productionsand research

Why video games In a sense this is thelogical next step in the media development ofShakespeare Hersquos everywhere in other media

books movies merchandise But videogamese answer for that depends on whoyou ask

StorytellingOccasionally individuals or publishinghouses develop video games that try to tellthe story of say Hamlet yet this is relativelyrare One example would be Elsinore a time-looping narrative adventure game set in the world of the play Players play the game as

Ophelia who wakes up knowing that in fourdays the entire court will be dead and shemust do something to stop ite problemis that she is stuck in a time loop reliving thesame four days over and over againat said Shakespearersquos presence in the

video game industry tends to be focused oncitation rather than adaptation of the playsat is video games for Xbox Playstationand other popular gaming systems often

just cite Shakespearersquos plays as a part of acommon cultural heritageese games donrsquotrestage say Hamlet but they quote the playIn these cases Shakespeare is used to establisha point of identification for the audience His writing tells the audience something aboutthe character or the situation

Given that audiences are supposedto be able to identify the quotations asShakespearean it is unsurprising that Hamlet is the most popular text for game designers to

cite Ine Elder Scrolls Online for instancea merchant NPC (non-player character)quotes Polonius when players interact sayingldquoNeither a borrower nor a lender berdquoe words establish the NPCrsquos role as a merchant while fitting the medieval world of thegame In the game LA Noire upon pickingup a fake shrunken head at a crime scene adetective leaps into high melodrama withldquoAlas poor Yorick I knew him Horatiordquoequotation and the clever voice acting establish

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Shakespeare video games

48 SHAKESPEARE magazine

the characterrsquos strait-laced yet macabre senseof humour

Sometimes citing Shakespeare is a partof a critique of a larger theme In the game Mass E ff ect the Elcor are a race of elephantinealiens who preface all statements with adescription of the emotion they are feelingand who speak in a slow monotonous drone As players interact with the expansive worldthey can discover a number of advertisementsfor an all-Elcor Hamlet e idea of theElcor actor ndash the ultimate in a flat woodenperformer ndash having to preface ldquoTo be or not

to berdquo with ldquomorose ruminationrdquo goes beyondthe simple humour of a bad Shakespeareperformance It subtly asks what it is aboutacting (and especially voice acting) that isvaluable

Shakespeare can appear in video gamesnot merely as a marker or contextualisationtool but as a part of a puzzle For example inthe game Silent Hill 3 players must arrange aset of Shakespeare anthologies on a bookshelfin an abandoned shopping mall in order to

proceed in the game At the hardest levelthe puzzle clue takes the form of a poemthat references all the major tragedies Romeoand Juliet King Lear Macbeth Othello andof course Hamlet e bloody nature of thetragedies fits with the bloody nature of theSilent Hill series of games which fall into thesurvival horror genre

Popular video games have also servedas the inspiration for games that engage with Shakespeare in a more direct way For

example Daniel Fischlin at the Universityof Guelph in Ontario Canada led a teamthat created a Flash game called rsquoSpeare Itrsquos

a scrolling arcade-style game suggesting thersquo80s hit Galaga which sees players identifyingand navigating through a series of enemies who turn into words upon being destroyede player progresses through the levelsby collecting the correct words to createShakespearean quotes learning Shakespeareantrivia along the way

ImmersionOne of the most exciting aspects of videogames is the ability to immerse the player inthe world of the game in a way that othermedia simply cannot do Being able to walkaround Prosperorsquos cell Julietrsquos balcony orto stand before the ghost of Hamletrsquos fatheras he cries out ldquoList list O listrdquo ndash theseexperiences are made possible through videogame technology

Students of Scenic Arts at the Universityof Hildesheim in Germany created Projekt ARIEL or SturmMOD in 2008 using a lsquomodrsquo(or modification) to the engine that runs

the game Far Cry 1 e performance artproject allowed users to experience Prosperorsquosisland interacting with certain parts andexploring others Players could walk aroundan imaginative rendition of Prosperorsquos cell and witness or interact with elements of the playincluding diff erent characters like CalibanProspero and Miranda

Four days to savethe Danish court

Elsinore

Another Hamlet reference this timein LA Noire

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Shakespeare video games

SHAKESPEARE magazine 49

Gina Bloom at the University of Californiaat Davis is presently spearheading a projectthat will be demonstrated in the lobby of theStratford Festival theatre in Ontario Canadathis summere project Play the Knave AShakespeare Performance Videogame lets usersdesign a virtual performance space and thenperform a scene from a Shakespeare playinhabiting this constructed space with anavatar As a Davis insider explains ldquoWe use akinect motion capture camera to capture theuserrsquos skeletal data so that players use theirentire bodies to control their avatarrsquos gesturesonscreen all the while reciting the lines from

Shakespearersquos scenerdquo is literally immersesthe players in the scene

Shakespearersquos Globe eatre in Londontook another tactic regarding immersionin the production of the game HemmingsrsquoPlay Company Hosted on the Playgroundportion of the Globersquos website and thusaimed at an audience of children the gamehas players taking on the role of Hemmingsan Elizabethan bear who leads a troupe oftheatrical animals such as Kit the Cat Dekker

the Dog and Slye the Foxe turn-based game leads players through

the vagaries of Elizabethan theatre practicefrom patronage to lost props and the plagueBy the end of the game players must earnenough money to rebuild the Globe after itburns down during a performance of HenryVIII

Also from Shakespearersquos Globe are twoinnovative video experiences created forchildren aged five to 11 e first Exploring

Shakespeare features two boys on a tour ofthe Globe theatre who sneak off to explorebackstage e video illustrates four plays

using short animations that are keyedto things the boys find backstage etechnology combines live action film andanimation to create an interactive touchablegame Filled with mini-games quizzes andinteresting facts about Shakespeare the gameallows players to click through the narrativeor to stop and learn more as they go along

e second video called Staging It usesthe same technology as the first film but thistime is for the 11-16 age group In this gamee Globe has filmed two actors performingfamous duologues from A MidsummerNightrsquos Dream and Macbeth on the Globestage Rather than shoot it once the actorshave performed their lines in diff erent ways(happy flirtatious defensive and so on)creating several diff erent clips per linePlayers can watch each of the clips and addtheir choice to a dynamic storyboard tobuild up their final scene Impressively theplatform allows for up to 1000000 diff erentcombinations of clips

Apps and Mini-GamesItrsquos when you start to look outside of therealm of popular video game platformslike Xbox or Playstation that Shakespeare

Silent Hill 3 Brush upyour Shakespeare ifyou want to survive

Hemmingsrsquo PlayCompany fromShakespearersquosGlobe

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Shakespeare video games

50 SHAKESPEARE magazine

really starts to pop up wherever you looke ubiquity of Shakespeare is especiallynoticeable when you start to look at apps andmini-games designed for phones and tablets

In 2012 Big Fish Games released aniPhone and iPad game called Hamlet that featured all the main characters ofShakespearersquos play but transposed them intoa save-the-princess narrative puzzle game A time traveller lands in Denmark andaccidentally kills Hamlet and so players mustcomplete his journey for him saving Opheliaand killing Claudiuse Shakespeareancontent is minimal and heavily adapted andyet it fits with the puzzle format in whichShakespeare tends to be found in videogamese Chronicles of Shakespeare Romeo amp

Juliet ande Chronicles of Shakespeare A Midsummer Nightrsquos Dream are lusciously-illustrated puzzle games for the PC In themplayers act as one of the characters from theplays gathering items and clues through aShakespearean environment

Among the literally thousands of appsrelated to Shakespeare that can be found forthe iPad or Android tablet are

e Shakespearean Insult Creator which generates invectives drawn from a wholly Shakespearean vocabulary So nexttime you want to call someone a jerk trysomething more like ldquoou fusty follyfallenfustilarianrdquo

e Shakespeare Translator whichtranslates ldquonormal English words and phrasesinto the words of Shakespeare himselfrdquo

e Shakespeare Fortune Cookie which provides short quotes from the plays

and a small trivia game Shakespeare or Die a game that

scrambles the words of famous quotationsfrom the plays and asks you to identify theplay and character who spoke the line If youmake a mistake however beware the witchesese apps are either explicitly games or

they are coming out of a game-like impulse tomake Shakespeare more accessible to everyone with an internet connection

Brave New WorldsIn a world where Shakespeare is an industrycounted in the millions of dollars per yearit is so easy to forget that Shakespearersquos playsare just that ndash playsere is a sense of joyand fun and happiness embedded in theexperience of watching them Games are oneof the ways that people over the centuries

have tried to recapture that elusive sense ofplayfulness within Shakespeare So it makesperfect sense that now with the advent ofdigital technologies Shakespeare is movinginto the digital world with a vengeance

From big studio games likee ElderScrolls to small apps that can be downloadedfor free from talking bears to immersiveperformance experiences Shakespeare iseverywhere in video games Rather than beingan undiscovered country into which the Bard

is only just beginning to emerge games havein fact engaged with Shakespeare and his works for hundreds of years And they willprobably continue to do so for hundreds ofyears to come

rsquoSpeare is a scrollingarcade-stylegame with addedShakespeare trivia

Hamlet is aShakespeare-themed puzzle fromBig Fish Games

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Meet thy makers

Helen Mears fell into bardolatryduring her teenage years and has

never recovered She is a volunteersteward at Shakespearersquos Globe

which ensures a regular diet of theBard She teaches English Film andMedia at Suffolk New College and isa specialist in teaching Shakespeareusing active methods Her favouriteShakespearean actor is Jamie Parker

and her favourite plays are the SecondHistory Tetralogy She hopes to

finish her Masters in the AdvancedTeaching of Shakespeare very soonFind her on Twitter hipster_hels

Paul F Cockburn is an Edinburgh-based freelance magazine journalist who specialises in writing about

arts and culture equality issues andpopular science Hersquos sufficiently

grey-haired for his English Literaturetraining to have sort of overlapped

with The BBC Television Shakespeareproject saving at least some of the

plays from death by academiaFind him on Twitter paulfcockburn

Jen Richardson first fell in love withShakespeare as a 15-year-old schoolgirl

ldquoHe got under my skin and hersquos still theretodayrdquo After training with a Manchester-based drama tutor she went on to pursuean acting career Drama remains a greatinterest but her focus is now on sharing

her passion for Shakespeare throughher writing In her spare time Jen is

generally down in Stratford-upon-Avonsitting on her favourite bench behind

Holy Trinity ChurchFind her on Twitter The_JenJen

Andrew Bretz is a sessional instructorof English Literature and Drama

specialising in early modern dramaHe has taught at Wilfrid LaurierUniversity the University of Guelph

Brock University and McMasterUniversity For the past two years he

has taught a special summer intensiveat Ontariorsquos Stratford Festival His PhDdissertation was on the representationof sexual violence on the early modern

stage Find him on TwitterAndrewBretz001

Just some of the contributors to this issue of Shakespeare Magazine

Rosalind Lyons is a painter whohas exhibited widely in both mixedand solo shows with work in UK

and international private collections A life-long love of Shakespeare isreflected in many of her paintings

and a particular recent focus isShakespearersquos Globe theatre where shespent a period as artist-in-residenceShe is currently studying for a PhD

in Painting and ShakespeareanTheatre at Anglia Ruskin University

in CambridgeFind her on Twitter roslyons

52 SHAKESPEARE magazine

Contributors

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Page 23: Shakespeare Magazine 08

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ere are several options depending on thetype of tour yoursquod likee town guides runhistorical tours of the town every day (yesevery day) of the year For those who like to be

a bit more daring there are evening ghost walksled by costumed guides who will tell you someof the spooky tales of Stratford Both of thesetours start from the Swan Water Fountain onthe riverside

Or if you like the idea of being guidedby Shakespeare himself on a Saturday (andMonday to Saturday through the summerholidays) there are town walks led by the manhimself (or someone who looks an awful lotlike him)ese run from Tudor World onSheep Street an interesting museum in thehouse that belonged to the man who wasallegedly the model for Sir John Falsta ff

Holy Trinity Church Another must-see is the townrsquos 13th centurychurch with its distinctive spire that dominatesthe view from the river Remember that if youhave a ticket to the Birthplace properties yourvisit to the grave is free e church is famousfor being where William Shakespeare wasbaptised on 26 April 1564 e old font that

was used for the baptism is displayed in thechancel along with copies of both the registerof baptism for April 1564 and the register ofburials for April 1616 where Shakespearersquosname can be clearly seen Also in the chancelin front of the altar are the Shakespeare familygraves Williamrsquos bears its infamous curse

ldquoGOOD FRIEND FOR JESUSSAKE FOREBEAR

TO DIGG THE DVST

ENCLOSED HEREBLESTE BE YE MAN YT SPARESTHESE STONES

AND CURSED BE HE YT MOVESMY BONESrdquo

On the wall above the grave is the effigy of

Shakespeare Itrsquos one of the few images which was produced within the lifetime of AnneShakespeare and probably one of the mostauthentic likenesses of her husband

The Guildhall and King EdwardrsquosSchoolDirectly opposite the site of New Place standthe Guildhall and the townrsquos old grammarschool Both of these places have links to theShakespeare family King Edwardrsquos Schoolis where the young William is believed tohave studied and itrsquos probably where hefirst encountered the classical texts which soinspired him As the son of a town councillorhe would have been entitled to a placee

old school is sometimes open to visitors at weekends or during the holidays but theschool has just won a lottery grant whichshould enable them to open it as a permanentattraction e Guildhall was sometimes hostto groups of travelling players and so it couldbe the site where young William first sawtheatrical performances It is widely believedthat John Shakespeare owing to his role astown bailiff was responsible for supervising the whitewashing of the medieval Doom Painting

Stratford-upon-Avon

SHAKESPEARE magazine 23

The GuildhallDoom Painting

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24 SHAKESPEARE magazine

Stratford-upon-Avon

is has been recovered and is now once againvisible above the chancel arch

The Royal Shakespeare CompanyTheatre and the riversidee riverside park is home to several interestingsights It is from here that you can get a view ofthe Clopton Bridge pick up a river cruise feedthe swans and admire the Gower Memoriale memorial was presented to the town in1888 and features a statue of Shakespeareseated upon a plinth overlooking statues offour of his best known charactersese areHamlet Prince Hal Sir John Falsta ff and Lady

Macbeth who represent Comedy HistoryPhilosophy and Tragedy Closer to the theatreis the beautiful Swan Water Fountain unveiledin 1996 If you see the water frothing fear notit seems to be a sport amongst local youngstersto fill the fountain with washing up liquid on aregular basis

e Royal Shakespeare Companyeatre was built in 1932 but has recently undergonea complete refurbishment in both the mainand the Swan theatres e building reopened

in 2010 with both theatres having beenconverted to boast thrust stages and curvedgalleries similar in shape to the originalElizabethan playhousese world renowned

Royal Shakespeare Company performshere throughout the year staging plays byShakespeare and his contemporaries as well asby newer authors ey also run an educationprogramme exhibitions family activitiesduring the school holidays and theatre toursTo see Stratford from an entirely diff erentangle take the lift up the 36 metre high towerfor spectacular views across the town

Where to eat and drinkStratford has an excellent range of eateriesto suit all tastes and budgets ere is pubgrub afternoon teas world cuisine finedining pizza pasta and fish and chips Manyrestaurants off er pre-theatre menus and ifyoursquove been on a town walk you may find thatyou can get discount vouchers for your foodere are many pubs in Stratford including theGarrick Inn the oldest pub in the town whereyou can taste the Shakesbeer specially brewedto celebrate Shakespearersquos 450th Birthday in2014 If you want to spot RSC cast members

relaxing after their showse Dirty Duck on Waterside is the place to drink

Where to stay Again Stratford-upon-Avon has a good varietyof hotels bed and breakfasts and holidayhomes All the main chains have hotels inthe town from budget brands to the luxurynamesere is an excellent choice of bedand breakfast establishments in and aroundthe town again these will suit all tastes and

budgets Airbnb also has an interesting rangeof rooms flats and houses to rent in StratfordHowever be sure to book early especially forthe prime summer months

The Shakespeare Birthplace Trustwwwshakespeareorguk

The GowerMemorial Will andPrince Hal

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M

any places around the worldhave been named afterStratford-upon-Avon thebirthplace and home of William

Shakespeare And many of those Stratfordsare home to theatre festivals of varying sizesStratford in the state of Victoria in Australiahas an annual Shakespeare festival still goingevery year while Stratford in Connecticut inthe USA had a major theatre from the mid1950s to the mid 1980s Stratford Ontarioin Canada however stands out among thesetowns and festivals not merely in scope but ininternational reputation and prestige

In 1950 Canada had no home-growntradition of classical theatre Certainly

Shakespeare was performed but there hadbeen a strong anti-theatrical movement inCanada throughout the 19th century whoseeffects still lingered throughout the first half ofthe 20th As a cultural icon Shakespeare wasedifying to be sure but certainly not to beperformed The Stratford Festival changed allof that for Canada

In the late 1940s the local newspapers andgovernment of the town conceived of the ideaof revitalising Stratfordrsquos sagging economy by

capitalising on the name of the town and its

long association with the Bard They bandedtogether and under the leadership of TomPatterson they brought over Tyrone Guthrieand Alec Guinness for the first season in1953 Guthrie had famously directed Gielgud

inHamlet

at Elsinore Castle in Denmarkand had been the manager of the Old Vic inLondon He wanted to create an acting spacethat echoed the original Globe theatre whereactors were surrounded by the audience incontrast to the proscenium arch theatres thatdominated the London and New York scenes

From the first performance which tookplace inside a giant circus-style tent on thebanks of the Avon River the festival workedto create a new aesthetic of Shakespeareanperformance The thrust stage of the FestivalTheatre designed by Tanya Moiseiwitschhas been recognised as one of the greatinnovations in stage design of the 20th centuryGenerations of actors have had to learn howto address an audience on three sides of themsometimes only an armrsquos length away

The festival has been central to the careersof Canadian actors such as ChristopherPlummer Martha Henry and even WilliamShatner Actors from the US and UK havesought to play the festival as well including

Peter Ustinov Christopher Walken and JessicaTandy Indeed these international stars notonly lend credibility but have indelibly markedthe festival For instance Maggie Smithrsquosperformance as Rosalind in As You Like It inthe 1977 and 1978 seasons is legendary in thecompany and the town

Today the festival has expanded to includemultiple performance spaces a theatre schooluniversity accredited courses and the largesttheatrical costume shop in North America

It has started countless careers inspiredcompanies such as Torontorsquos SoulpepperTheatre and helped shape the Canadiantheatre landscape for over 50 years

Stratford Festival ndash Ontario Canada

wwwstratfordfestivalca

MEANWHILE

IN CANADATherersquos more than just one Stratford you knowAnd the one in Ontario Canada has a world-renownedShakespeare Festival gives us a tour

Stratford Ontario

SHAKESPEARE magazine 25

ldquoFrom the fi rst performancethe Festival worked tocreate a new aesthetic ofShakespearean performancerdquo

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Planning to performa short selection

from Shakespeare

The 30-Minute Shakespeare

Anthology contains 18 abridged

scenes including monologues from

18 of Shakespearersquos best-known plays

Every scene features interpretive stage

directions and detailed performance

and monologue notes all ldquoroad testedrdquo

at the Folger Shakespeare Libraryrsquos

annual Student Shakespeare Festival

THE 30-MINUTE SHAKESPEARE is an acclaimed series of abridgments that tell the story of each play while keeping the beauty ofShakespearersquos language intacte scenes and monologues in this anthology have been selected with both teachers and students inmind providing a complete toolkit for an unforgettable performance audition or competition

NICK NEWLIN has performed a comedy and variety act for international audiences for more than 30 years Since 1996 he hasconducted an annual teaching artist residency with the Folger Shakespeare Library in Washington DC

The 30-Minute Shakespeare series is available in print and ebook format at retailersand as downloadable PDFs from 30MinuteShakespearecom

The 30-Minute Shakespeare Anthology

includes one scene with monologue

from each of these plays

ldquoLays the groundwork for a truly fun and sometimes magical

experience guided by a sagacious knowledgeable and intuitive

educator Newlin is a staunch advocate for students learning

Shakespeare through performancerdquo mdashLibrary Journal

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Roaslind Lyons

28 SHAKESPEARE magazine

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For UK artist Rosalind Lyons the Bard is a

constant presence in her creative life She tells

us how Shakespeare inspired the haunting and

dreamlike works that adorn these pages

Words and paintings by Rosalind Lyons

Rosalind Lyons

SHAKESPEARE magazine 29

Left TheRoaring Boys

PAINTINGSHAKESPEARE

S hakespeare has long been at the heart ofmy work sometimes directly and obviouslyin the subjects and often in the titlesBut always Shakespearersquos words charactersand stories are there in my head when Iam painting ndash a perpetual conscious andunconscious presence

My style echoes that of the Renaissancepainters and Elizabethan portraits andthese influences combined with a life-long love of Shakespeare made my firstvisit to Shakespearersquos Globe pivotal Iexperienced a powerful sense of connectionand recognition Here suddenly ideasand themes with which I had been so longpreoccupied were brought to life

I subsequently gained access to theGlobe to draw and later spent some time

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as Artist in Residence thereat experienceprompted more in-depth exploration notonly of Shakespeare and painting but of therelationship between painting and theatreere are of course the strong visualconnections ndash both are spaces for spectacleand illusion But also compelling ideas oftransformation imagination storytelling andidentity And overall the theme of ambiguitye blurring of boundaries between realityand fiction male and female light andshadow past and present I am fascinated byhow we respond to history how we re-presentand re-imagine the past And the figures inmy paintings are imagined as belonging toboth now and then ndash flitting back and forthacross the threshold between past and presentbetween Shakespearersquos time and our own

modern worldI have painted some specific characters

from Shakespeare but many subjects ofmy paintings are anonymouse figuresare unknown their place purpose role is amysteryis anonymity is unsettlingereare clues in the setting in the costumes ndash orperhaps I should just say in the clothes theyare wearing ndash but the context is not obviousI am fascinated by the dramatic convention ofcross-dressing ndash and particularly the inherent

confusion as with Rosalind ( As You Like It )and Viola (Twelfth Night ) in the idea of aboy playing a girl playing a boy Many of thecharacters I invent are androgynous theirgender and age uncertainis ambiguityof identity interests me in the context ofvisual illusion and theatrical transformationthe idea of inbetween-ness and somethingunresolved

Like theatre my paintings are concerned with inventing characters and the creation

Right No MoreYielding But A

Dream

Roaslind Lyons

30 SHAKESPEARE magazine

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of an imaginary world and I am particularlyattracted to the fools fairies and witchesIn A Midsummer Nightrsquos Dream the fairiesrsquoactions may seem malevolent or benign or just mischievous but there is definitely a dark

side an underlying sense of threate Fool too is intriguing Shakespearersquosfools frequently describe themselvesor are referred to as a nobody but areunquestionably much moree fool is anoutsider concerned with but at the same timeseparate from the story He ndash or sometimesshe ndash doesnrsquot quite belong anywhere butseems to exist on the boundary between thefamiliar and the uncanny

I am attracted to the strange to mysteryand shadows and try to express through myimages a strong feeling that it could be thator maybe something else As Orsino says atthe conclusion of Twelfth Night ldquoA naturalperspective that is and is notrdquo While makinga painting and even when it is finished Idonrsquot know really who my characters are ndashthey remain elusive But I like not knowingand ultimately meanings always change anddepend on individual perceptions

My experience at the Globe led to aparticular fascination with the ambiguous and

protean quality of the theatrical performerhow their identity transforms and fluctuatesI was attracted by this when watching

Rosalind Lyons

SHAKESPEARE magazine 31

Above A MidwinterNightrsquos Dream

Right Three Fools

Far right FollowingDarkness

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rehearsals observing actors shift between selfand impersonation between diff erent realitiesand identities When they are not acting theyndash metaphorically and often literally ndash melt

into the shadows I am interested too in thephysical and symbolic threshold between lsquoonrsquoand lsquooff rsquo-stage the transformation inherentin an actor moving from the wings onto thestage assuming another self and anotheridentity Particularly evocative is the fact thatactors were colloquially known as shadowsin the Elizabethan playhouses ndash suggestingsomething unknowable and insubstantialIn the Prologue to Henry V Shakespeare hasthe Chorus describe the players as lsquociphersrsquoimplying deception and secrecy

Artists in the past who have tackledShakespeare have generally produced imagesthat directly illustrate the text or representfamous actors or scenes from a particularperformance Today as well as on the stageShakespearersquos plays are frequently re-imaginedin very successful film and TV adaptationsbut I have struggled to find more than ahandful of contemporary fine artists whohave engaged with Shakespeare on any levelPerhaps Shakespeare as a subject is seen

by some as too traditional too lsquopopularrsquoor simply just too lsquooldrsquo But in the theatreand in literature there is an ever-increasingenthusiasm for innovative interpretationsof the plays and for me Shakespeare is aconstant inspiration

e Prologue of Henry V also urges theaudience to ldquoPiece out our imperfections withyour thoughtsrdquo to liberate the imaginationand create another kind of reality to shapeour own fantasies within the ldquowooden Ordquo of

the theatre In my paintings I endeavour todo the same

Explore the work of Rosalind Lyons atwwwrosalindlyonscom

Above These Two CreaturesBelow Therersquos Magic In Thy Majesty

Roaslind Lyons

32 SHAKESPEARE magazine

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$amp( ) +-01

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Aidan OrsquoReilly

34 SHAKESPEARE magazine

Looking forRichard AidanOrsquoReilly is playingShakespearersquosbaddest monarch

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Aidan OrsquoReilly

SHAKESPEARE magazine 35

You are legally blind having been

diagnosed with retinoblastoma as an

infant How did this impact on your

acting aspirations and early career

ldquoMy parents did a good job raising me Inever grew up thinking of it as a handicap orthinking it could hold me back from what I wanted to do I couldnrsquot play sports at all soI think my parents were grateful that I hadsomething that I was passionate about from avery young age

ldquoI went to a public elementary school with a program designed for the blind so itfelt very natural for me to be the way that I was And acting has always been part of thatrdquo

You went to RADA in London Was

there a reason why you wanted to

train in England and not in the US

ldquoItrsquos always been an ambition of mine to

travel as far and wide as possible Also myhero growing up was Peter OrsquoToole ndash Iread his autobiography in high school andlearned he had gone to RADA and decided I wanted to go there too So I auditioned therenot knowing that RADA is arguably thebest drama school in the English-speaking world Consequently I was quite relaxed atthe audition which is probably why I gotin My ignorance can sometimes serve me well Going to RADA was a life-changing

Aidan OrsquoReilly is an actor with an

inspiring story Legally blind since he

was six months old he forged a passionfor drama at an early age Aidan went

on to gain a BA with honours from

Londonrsquos Royal Academy of Dramatic

Art before touring for three years with

the American Shakespeare Center

In 2012 Aidan was diagnosed with

sarcoma a rare cancer He bounced

back in 2014 after intensive treatment

and is now cancer-free We spoke to

Aidan as he prepared to play the title

role in Richard III for Californiarsquos Marin

Shakespeare Company We asked himto share his story and to give us his

take on one of Shakespearersquos most

fascinating characters

Interview by Jen Richardson

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Aidan OrsquoReilly

36 SHAKESPEARE magazine

experience I was lucky enough to havecontact with brilliant professors and Irsquom stillin awe of the students I went to school withI wouldnrsquot trade that experience for anythingrdquo After graduating from RADA you

went on the road with the American

Shakespeare Center Tell us a bit

about that

ldquoThat was one of the happiest times of mylife In many ways I got spoiled I was a working actor 11 months out of the yeartouring nationally seeing parts of the USI had never been to before doing plays Iloved and working with directors who werevehemently faithful and respectful to the text When I wasnrsquot on the road I was in residenceat the Blackfriars Playhouse in StauntonVirginia with many extraordinary actorsI was very lucky to be thererdquo

Three years ago you were diagnosed

with sarcoma How did you

overcome this enormous challenge

and return to the stage in 2014

ldquoThe only reason Irsquom still alive is because ofmy mother Lily and my wife Jocelynn AlsoI was fortunate that we caught it before it hadspread and it was on my leg and away fromany major organs

ldquoI am very grateful for my team of doctorsat UCSF who did an incredible job in mytreatment and follow-up care Irsquom glad to beback to workrdquo Yoursquore now due to play Richard III

with Marin Shakespeare Company

Howrsquos it going so far

ldquoAt this point Irsquom in the paperwork stage

of things A lot of reading the HenryVI s biographies of Richard as well asperformance history of the play itself Irsquomdoing a fair amount of limping around myapartment as well I canrsquot wait to get intorehearsals next weekrdquo Tell us about Marin Shakespeare

Company and what appealed to you

about working with them

ldquoRobert and Lesley [Currier MSCrsquos Artistic

Director and Managing Director] arefascinating people Their intelligence andhumour is contagious Without questionthere is a lot to be learned from themrdquo Richard IIIrsquos remains were discovered

in 2012 and reburied this year Is all

the new information about Richard

influencing your portrayal

ldquoYes and no My job isnrsquot to play the historicalRichard but the Richard that Shakespeare has

Aidan believesthat Richard IIIrsquosobsession withcontrol is whatcauses his downfall

ldquoPeter OrsquoToole wasmy hero He went to

RADA so I wanted to go there toordquo

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Crowning gloryAidan with MarinShakespearersquosRobert Currier

created Itrsquos helpful to know the facts of thesituation in order to gain insight into whathas been changed in Shakespearersquos versionof events

ldquoI met with a friend of mine who is a

retired surgeon who walked me through themedical information that has come to lighton Richardrsquos body and I will certainly usethat to inform my physical choicesrdquo Unlike many actors yoursquore the right

age to play the historical Richard III

Do you feel Richardrsquos relative youth

has been overlooked

ldquoI do Richard is a young man who believeshe is hardened by the experiences he andhis family endured during the War of theRoses and believes himself to be beyondhuman emotions and the lsquorestrictionsrsquo of aconscience He isnrsquot He pays the bill for thehorrible things he does That lack of self-knowledge is not exclusive to youth but I feelit makes him more sympathetic and relatableto an audiencerdquo Some people think Richard III shows

Shakespeare delivering a highly

effective piece of Tudor propaganda

Where do you stand on thatldquoI think Shakespeare has a soft spot foroutsiders and underdogs Although his playssometimes work within the confines of thebiases of Elizabethan society he canrsquot help butmake his lsquovillainsrsquo fascinating human beings

For as horrible as Richard is itrsquos amazing tosee how audiences relate and respond to himrdquo Which other important themes do

you feel Shakespeare deals with in

the playldquoThe history plays are full of extraordinarypeople who waste their lives and intelligence who sacrifice their humanity in pursuit of thecrown Itrsquos still happening today What is theattraction of power Richard never pauses tothink of why he wants the crown or if hersquodbe any good as king Turns out hersquos not butitrsquos this bizarre obsession with control thatpropels him to kill everyone off thatrsquos in his way Itrsquos also fascinating that the one characterthat is consistently kind to Richard is hisfather York

ldquoI think an argument can be made thatRichard in his warped way is trying to liveup to the image he has of his father Ofcourse York is dead and gone by the timeRichard III begins but you can glean a lotabout Richardrsquos inner workings in the way hespeaks about his father Of course itrsquos foolishto try to answer questions that Shakespearedoesnrsquot and Irsquom not trying to say this solvesa mystery but I think itrsquos interesting Itrsquos only

an element itrsquos not the answerrdquo Richard III is listed as a historical

play in the First Folio but in the

quarto edition it is termed a tragedy

Which category would you put the

play in and why

ldquoI think of the history plays from Richard II to Richard III as one vast play an epic thatencompasses all the categories I think if youlook at Richardrsquos progression through those

plays you see a great mind warped by the War of the Roses and that certainly adds tothe tragic element I think of Richard III asthe final chapter of a great epicrdquo

Aidan OrsquoReilly stars in Marin ShakespeareCompanyrsquos Richard III from 4-27 September

Aidan OrsquoReilly

SHAKESPEARE magazine 37

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Scotland Shakes

SHAKESPEARE magazine 39

Bonnie Prince

Brian Fergusonas Hamlet in theCitizens Theatre

production Photoby Tim Morozzo

Billy William Shakespeare is undoubtedly Englandrsquos

Bard But how is he viewed north of the border

Our Caledonian correspondent surveys the state

of Shakespeare in Scotland and meets esteemed

outdoor theatre company Bard in the Botanics

Words Paul F Cockburn

T owards the end of May thisyear a BBC Scotland afternoon

news bulletin surprisinglyturned its attention to aforthcoming production of

ldquoone of William Shakespearersquos best lovedplaysrdquo ndash A Midsummer Nightrsquos DreamHowever this particular production wasnrsquotconsidered newsworthy because it came froman amateur group based in Dumfries andGalloway Not even that the CrossmichaelDrama Club were one of just seven amateurScottish groups taking part in the Royal

Shakespeare Companyrsquos Open Stages project which aims to help amateur companies

extend their repertoiresNo the lsquohookrsquo was how this newproduction was Shakespeare ldquobut no asyou micht ken itrdquo Because it had beenreimagined in Scots as A MidsimmerNichtrsquos Dreme

As it happens writer John Burns saysthat his principle reason for translating AMidsimmer Nichtrsquos Dreme was simply theintuition that it being in Scots would workto the benefit of the production ldquoItrsquos not

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Scotland Shakes

40 SHAKESPEARE magazine

so much that 16th century English canrsquot docertain things more that using Scots brings itcloser to a Scottish audience and to audiences who might think Shakespeare too fancyrdquo hesays ldquoI feel too that Scots can catch the sheerphysical power of Shakespearersquos language He writes lines you really feel physically when

you say them out loud My intention was touse Scots to produce a text that was actableand which would be accessible and enjoyablefor the audience and the Scots was a majorpart of thatrdquo

Arguably translating Shakespeare intoScots ndash viewed by many as a distinct languagefrom English ndash is just one way of finding thecontinued relevancies of Shakespearersquos writing with the here and now Certainly John Burns was keen to see if Scots ldquocould match the way

Shakespeare switches tonehellip from broad attimes bawdy humour to moments that aremore serious or even sinisterrdquo

Yet there is a wider perspective whether wersquore discussing translation into Scots orsaying Shakespearersquos words with a Scottishaccent Willy Maley and Andrew Murphyin their introduction to Shakespeare andScotland (published by Manchester UniversityPress in 2004) go as far as describing thetranslation of Shakespearersquos Macbeth into

Scots as ldquoa patriotic actrdquo not least becauseof ldquothe political commitment implicit intranslating from English to Scots reversing

the dominant dubbing practice infi

lmsrdquoGlasgow-based novelist and playwright Alan Bissett ndash who actively campaigned fora Yes vote during last yearrsquos IndependenceReferendum ndash has since written about howsince the 1970s Scottish theatre had ldquoadeep engagement with the shifting beastof Scottish politicsrdquo Although Bissett wasfocusing primarily on original works byScottish playwrights and directors itrsquos worthpointing out that Shakespeare ndash despite therebeing absolutely no evidence to prove he evertravelled north of Carlisle ndash has played hisown part in this

As Maley and Murphy point outldquoScotlandhellip never had precisely the samerelationship with the Bard as England hasbut has experienced a fraught process ofappropriation incorporation and resistancerdquoIn part this is because Shakespeare ndash in hislatter career ndash was among the first lsquoBritishrsquo writers Many of his later plays ndash Cymbeline King Lear even Hamlet ndash were produced

A tartan-cladAntipholus andDromio in Bard inthe Botanicsrsquo TheComedy of Errors

Brian FergusonrsquosHamlet CitizensTheatre productionPhoto by TimMorozzo

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under the patronage of Scotlandrsquos King JamesVI (aka James I of England) Each in theirown way can be said to touch on ldquothe matterof Britainrdquo the complex relationship between

the constituent elements of Jamesrsquos newlsquounitedrsquo kingdom which the Stuart monarch was determined to see joined into oneat never quite happened of course

Even after the 1707 Act of UnionScotland retained its own legal educationaland religious systems along with anaccompanying sense of Scottish identity ndash which survived even the height of the Britishempire Yet from the 1970s on there havebeen notable changes in how Shakespeareis treated by Scotlandrsquos producing theatrecompanies Several years ago GlasgowrsquosCitizenseatre delivered a powerful Romeoand Juliet in part because of their decision toset the action in a present-day sectarian Westof Scotland ndash with accents to match

ldquoEnglish-accented Shakespeare carriesa specific resonance in Scotland one thatdirectors usually choose to avoidrdquo pointsout Mark Fisher a freelance journalist criticand author of the forthcoming book How toWrite Abouteatre

ldquoIrsquom not sure exactly when attitudesstarted to change but Irsquod say the argumentin favour of Scottish-accented productionshad been pretty much won by the 1990sBy that time companies such as Raindogand directors such as Hamish Glen hadbeen making a point of casting very Scottishproductions of Shakespearerdquo

One example of how things hadprogressed even by 1992 was the late KennyIrelandrsquos production of A Midsummer

Nightrsquos Dream his first as Artistic Directorat Edinburghrsquos Royal Lyceum ldquoHe castthe mechanicals with Scottish accents andeveryone else with English accentsrdquo MarkFisher explains ldquois I said in my review wasa fundamental error ndash or some such phrasee message it sent out was that people withScottish accents were foolish figures of fun whereas people with English accents wereserious figures of respect

ldquoIreland reacted furiously to my review

and made the case that he had based thecasting of the mechanicals around (the actor) Andy Gray who has a Scottish accent Inother words the meaning I inferred hadnot been deliberate I think itrsquos true to sayhowever that Ireland never cast a Shakespearelike that againrdquo

Gordon Barr is Artistic Director of

Glasgow-based Bard in the BotanicsScotlandrsquos only professional Shakespearecompany (see following pages)

ldquoWersquove never gone out of our way tomake Scottish versions of these texts norhave we gone out of our way to have classicaltraditional voicesrdquo he says ldquoMost of our coreactors have made their careers up here so wethink of them as Scottish actors

ldquoat is important to us to not overlylook outwards for the acting company As

much as possible we work with people who are based in Scotland Wersquore regularlyproducing Shakespeare here and we want tobe a part of the training to ensure that there isa range of strong classical actors hererdquo

Citizens Theatrewwwcitzcouk

Owen Whitehawas the Fool andDavid Hayman asLear in CitizensTheatrersquos King Lear Photo by TimMorozzo

Scotland Shakes

SHAKESPEARE magazine 41

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Bard in theBotanicsrsquo As You Like

It takes Rosalind andOrlando into theopen air

ldquoTouring is something that we have wanted to do foryears but was somethingthat we could not afford

to do without fundingrdquo says Gordon Barr Artistic Director of Scotlandrsquos only professionaloutdoor Shakespeare festival Bard in theBotanics If therersquos any irony attached tothe companyrsquos first major tour of Scotland which took place in early 2015 itrsquos that theperformances of their acclaimed Romeo and Juliet ndash featuring a cast of five ndash were playedexclusively indoors

ldquoNobody is touring classical theatre in

Scotland at the minute so itrsquos importantto usrdquo Barr adds ldquoOur work is so muchabout accessibility One of the joys of beingoutdoors is that people come to see the work who wouldnrsquot buy a ticket for a theatre Ifyou can bring a picnic sit out on the grass while watching the show it feels easier moreaccessible But people canrsquot come from Thursoto Glasgow for a night just to see a productionof Shakespeare They should be able to see itin Thurso So that is kind of where the urge totour came fromrdquo

Bard in the Botanics has presented outdoorShakespeare within the grounds of GlasgowrsquosBotanic Gardens since 2003 This yearrsquoslsquoUnlikely Wondersrsquo season presented newproductions of Loversquos Labourrsquos Lost The Merchant of Venice Richard II and A Midsummer Nightrsquos Dream in lsquoreprsquo between24 June and 1 August

The companyrsquos founder Scott PalmerBarr explains had done a lot of his training atthe Oregon Shakespeare Festival one of the

biggest in North America ldquoWith the kindof drive and enthusiasm that only Americanshave he managed to convince the entire cityof Glasgow that outdoor Shakespeare would work and that the weather wasnrsquot going to be

a problemrdquoTwo years later Palmer moved on and Barr

ndash originally involved as a director ndash succeededhim as Artistic Director ldquoIf anyone then hadsaid that I would end up spending 12 yearsrunning an outdoor Shakespeare festival I wouldnrsquot have believed themrdquo he says in hisoffice hidden behind some of the Botanicsrsquogardening sheds ldquoI very quickly fell in love with it once I started working here Despiteall the trials and tribulations that outdoortheatre in Scotland brings with it therersquos just

something magical and special about it Itrsquos a very close-knit company and thatrsquos sort of keptus all here as long as we have beenrdquo

While the annual summer season ofShakespeare plays in the Botanics will remainat the centre of what the company does ndashldquoOtherwise Bard in the Botanics becomesa rather strange namerdquo ndash Barr is very much

Outof theGarden

This year has seen Glasgowrsquos Bard in the Botanicsdo something completely unexpected They wentout on a tour of ndash whisper it ndash indoor venueshellip

Scotland Shakes

42 SHAKESPEARE magazine

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Scotland Shakes

SHAKESPEARE magazine 43

focused on building on the touring side ldquoBecause it was our first ever tour we

did end up taking Romeo and Juliet to theestablished Scottish touring circuitrdquo he addsldquoIt takes a while to build up relationships with the smaller venues thatrsquos going to bean ongoing process for us Even so we weretaking Romeo and Juliet to places like Mulland Stranraer ndash communities and venues thathavenrsquot had a lot of classical theatre comingthrough themrdquo

The choice of play was deliberate too ldquoIt was a production that was ready to go whichhad received five star reviews and sold out itsextended run in the Botanics in 2012 So weknew that the work was good but therersquos nodoubt that for a first tour we wanted to makeit easier for the venues to sell it Most venuesknow they can find an audience for Romeo and Juliet rdquo

In time he hopes that audiences aroundthe rest of Scotland will come to trust the Bardin the Botanics name sufficiently to take on theless familiar plays

ldquoYou just donrsquot know how quickly acommunity is going to turn out for Henry IV yetrdquo he says ldquoHopefully three or four toursdown the line theyrsquore going to turn out forBard in the Botanics ndash and if it happens to be

Henry IV well thatrsquos greatrdquoGiven their reimagining of A MidsummerNightrsquos Dream as a 1920s burlesque musicalis there a particular Bard in the Botanicsapproach to Shakespeare

ldquoOur kind of unofficial motto is lsquoBe BoldBe Braversquordquo Barr says ldquoIf wersquore continuingto stage these plays around 400 years afterShakespearersquos death I think therersquos an urgencyto ask lsquoWhyrsquo It is important to questionlsquoWhat is the story that we want to tellrsquo I wantto see how these plays intersect with historyand todayrsquos society not to present museumpieces

ldquoItrsquos always with an eye to try to releasesomething thatrsquos within the textrdquo Barrinsists ldquoWersquore not remotely interested ininnovation for innovationrsquos sake The playsare masterpieces thatrsquos essentially why wersquorestill doing them 400 years later But to revealsomething thatrsquos unexpected or new thatrsquosimportant to usrdquo

Bard in the Botanics

wwwbardinthebotanicscouk

Rosalind and Audreyin the forest Bardin the Botanicsrsquo As You Like It

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Shakespeare at the Tobacco Factory stf 2016 Seasonco-production with Tobacco Factory Theatres

HAMLETBy William Shakespeare

Directed by Andrew Hilton

Main run Thu 11 February ndash Sat 26 March 2016

In repertoire with Allrsquos Well That Ends WellMon 25 ndash Wed 27 April Sat 30 April 2016

The most famous play in world drama Hamlet

turns a new face to every decade So many

elements - political madness sex murder ndash all

brought together in a drama that is both a thriller

and the profoundest meditation on our human

condition

ldquoThrilling workrdquo The Guardian on Romeo amp Juliet

ldquoBullseyerdquo WhatsOnStage on Romeo amp Juliet

Shakespeare at the Tobacco Factory Friends Priority Booking opens Wed 23 September 10am

wwwstf-theatreorguk

Tobacco Factory Theatres Members Priority Booking opens Wed 16 September 10am

wwwtobaccofactorytheatrescom

Public Booking opens Wed 30 September 10am

Tobacco Factory Box Office 0117 902 0344

ALLrsquoS WELL THAT ENDS WELLBy William Shakespeare

Directed by Andrew Hilton

Main run Thu 31 March ndash Sat 23 April 2016

In repertoire with Hamlet

Thu 28 ndash Fri 29 April Sat 30 April

A young woman using skills bequeathed herby her father saves the French Kingrsquos life and

is rewarded with the right to choose her own

husband But what if the chosen one wonrsquot play

the game How can she get him into bed How

can she make him love her

ldquo There is something approaching real

magic hererdquo The Arts Desk on The School for Scandal

P h o t o s M

a r k D o u e t

Dorothea MyerBennett in Richard III

Benjamin Whitrowand Julia Hills in The

School For Scandal

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Having conquered

Hollywood and vanquished

the global entertainment

industry video games now

on our culture So where

does the Bard stand in all of

this We sent a Shakespeare

scholar to investigatehellip

Words Andrew Bretz

Shakespeare video games

46 SHAKESPEARE magazine

T eGamersquos A oot Silent Hill is one

big-name gamewhich includesShakespearereferences

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Shakespeare video games

SHAKESPEARE magazine 47

German cardboard Macbeth datingfrom the early1800s

Hamlet reimaginedRyan Northrsquos To Be

Or Not To Be

W

hen you walk intothe wood panelled Victorian Gothicismof the Gail Kern Paster

Reading Room at theFolger Shakespeare Library in WashingtonDC video games are probably the lastthing on your mind Buried deep withinthe archives however are a set of fragilecardboard figures printed in Germany in theearly 1800s representing each of the maincharacters of Macbeth

Nineteenth century German children would play with these figures on smallcardboard stages no bigger than a dollhouseey could replicate the story as it was toldin Shakespeare or use their imagination tochange the ending letting Lady Macbethsurvive and bringing Duncan back from thedead if they so chosee limits of the game were the limits of their imagination

Today the lsquogamificationrsquo of Shakespeareis a big business from Ryan Northrsquos choose-your-own-adventure edition of Hamlet To Be Or Not To Be to IDW Gamesrsquosupcoming Kill Shakespeare board gamebased on the comic of the same name

Gamifying Shakespeare is filtering intoschools libraries and the theatrical worldas well with the University of California atDavis the Stratford Festival in Ontario theGlobeeatre in London and the LondonMetropolitan Archives all experimenting with video game elements in exhibits productionsand research

Why video games In a sense this is thelogical next step in the media development ofShakespeare Hersquos everywhere in other media

books movies merchandise But videogamese answer for that depends on whoyou ask

StorytellingOccasionally individuals or publishinghouses develop video games that try to tellthe story of say Hamlet yet this is relativelyrare One example would be Elsinore a time-looping narrative adventure game set in the world of the play Players play the game as

Ophelia who wakes up knowing that in fourdays the entire court will be dead and shemust do something to stop ite problemis that she is stuck in a time loop reliving thesame four days over and over againat said Shakespearersquos presence in the

video game industry tends to be focused oncitation rather than adaptation of the playsat is video games for Xbox Playstationand other popular gaming systems often

just cite Shakespearersquos plays as a part of acommon cultural heritageese games donrsquotrestage say Hamlet but they quote the playIn these cases Shakespeare is used to establisha point of identification for the audience His writing tells the audience something aboutthe character or the situation

Given that audiences are supposedto be able to identify the quotations asShakespearean it is unsurprising that Hamlet is the most popular text for game designers to

cite Ine Elder Scrolls Online for instancea merchant NPC (non-player character)quotes Polonius when players interact sayingldquoNeither a borrower nor a lender berdquoe words establish the NPCrsquos role as a merchant while fitting the medieval world of thegame In the game LA Noire upon pickingup a fake shrunken head at a crime scene adetective leaps into high melodrama withldquoAlas poor Yorick I knew him Horatiordquoequotation and the clever voice acting establish

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Shakespeare video games

48 SHAKESPEARE magazine

the characterrsquos strait-laced yet macabre senseof humour

Sometimes citing Shakespeare is a partof a critique of a larger theme In the game Mass E ff ect the Elcor are a race of elephantinealiens who preface all statements with adescription of the emotion they are feelingand who speak in a slow monotonous drone As players interact with the expansive worldthey can discover a number of advertisementsfor an all-Elcor Hamlet e idea of theElcor actor ndash the ultimate in a flat woodenperformer ndash having to preface ldquoTo be or not

to berdquo with ldquomorose ruminationrdquo goes beyondthe simple humour of a bad Shakespeareperformance It subtly asks what it is aboutacting (and especially voice acting) that isvaluable

Shakespeare can appear in video gamesnot merely as a marker or contextualisationtool but as a part of a puzzle For example inthe game Silent Hill 3 players must arrange aset of Shakespeare anthologies on a bookshelfin an abandoned shopping mall in order to

proceed in the game At the hardest levelthe puzzle clue takes the form of a poemthat references all the major tragedies Romeoand Juliet King Lear Macbeth Othello andof course Hamlet e bloody nature of thetragedies fits with the bloody nature of theSilent Hill series of games which fall into thesurvival horror genre

Popular video games have also servedas the inspiration for games that engage with Shakespeare in a more direct way For

example Daniel Fischlin at the Universityof Guelph in Ontario Canada led a teamthat created a Flash game called rsquoSpeare Itrsquos

a scrolling arcade-style game suggesting thersquo80s hit Galaga which sees players identifyingand navigating through a series of enemies who turn into words upon being destroyede player progresses through the levelsby collecting the correct words to createShakespearean quotes learning Shakespeareantrivia along the way

ImmersionOne of the most exciting aspects of videogames is the ability to immerse the player inthe world of the game in a way that othermedia simply cannot do Being able to walkaround Prosperorsquos cell Julietrsquos balcony orto stand before the ghost of Hamletrsquos fatheras he cries out ldquoList list O listrdquo ndash theseexperiences are made possible through videogame technology

Students of Scenic Arts at the Universityof Hildesheim in Germany created Projekt ARIEL or SturmMOD in 2008 using a lsquomodrsquo(or modification) to the engine that runs

the game Far Cry 1 e performance artproject allowed users to experience Prosperorsquosisland interacting with certain parts andexploring others Players could walk aroundan imaginative rendition of Prosperorsquos cell and witness or interact with elements of the playincluding diff erent characters like CalibanProspero and Miranda

Four days to savethe Danish court

Elsinore

Another Hamlet reference this timein LA Noire

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Shakespeare video games

SHAKESPEARE magazine 49

Gina Bloom at the University of Californiaat Davis is presently spearheading a projectthat will be demonstrated in the lobby of theStratford Festival theatre in Ontario Canadathis summere project Play the Knave AShakespeare Performance Videogame lets usersdesign a virtual performance space and thenperform a scene from a Shakespeare playinhabiting this constructed space with anavatar As a Davis insider explains ldquoWe use akinect motion capture camera to capture theuserrsquos skeletal data so that players use theirentire bodies to control their avatarrsquos gesturesonscreen all the while reciting the lines from

Shakespearersquos scenerdquo is literally immersesthe players in the scene

Shakespearersquos Globe eatre in Londontook another tactic regarding immersionin the production of the game HemmingsrsquoPlay Company Hosted on the Playgroundportion of the Globersquos website and thusaimed at an audience of children the gamehas players taking on the role of Hemmingsan Elizabethan bear who leads a troupe oftheatrical animals such as Kit the Cat Dekker

the Dog and Slye the Foxe turn-based game leads players through

the vagaries of Elizabethan theatre practicefrom patronage to lost props and the plagueBy the end of the game players must earnenough money to rebuild the Globe after itburns down during a performance of HenryVIII

Also from Shakespearersquos Globe are twoinnovative video experiences created forchildren aged five to 11 e first Exploring

Shakespeare features two boys on a tour ofthe Globe theatre who sneak off to explorebackstage e video illustrates four plays

using short animations that are keyedto things the boys find backstage etechnology combines live action film andanimation to create an interactive touchablegame Filled with mini-games quizzes andinteresting facts about Shakespeare the gameallows players to click through the narrativeor to stop and learn more as they go along

e second video called Staging It usesthe same technology as the first film but thistime is for the 11-16 age group In this gamee Globe has filmed two actors performingfamous duologues from A MidsummerNightrsquos Dream and Macbeth on the Globestage Rather than shoot it once the actorshave performed their lines in diff erent ways(happy flirtatious defensive and so on)creating several diff erent clips per linePlayers can watch each of the clips and addtheir choice to a dynamic storyboard tobuild up their final scene Impressively theplatform allows for up to 1000000 diff erentcombinations of clips

Apps and Mini-GamesItrsquos when you start to look outside of therealm of popular video game platformslike Xbox or Playstation that Shakespeare

Silent Hill 3 Brush upyour Shakespeare ifyou want to survive

Hemmingsrsquo PlayCompany fromShakespearersquosGlobe

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Shakespeare video games

50 SHAKESPEARE magazine

really starts to pop up wherever you looke ubiquity of Shakespeare is especiallynoticeable when you start to look at apps andmini-games designed for phones and tablets

In 2012 Big Fish Games released aniPhone and iPad game called Hamlet that featured all the main characters ofShakespearersquos play but transposed them intoa save-the-princess narrative puzzle game A time traveller lands in Denmark andaccidentally kills Hamlet and so players mustcomplete his journey for him saving Opheliaand killing Claudiuse Shakespeareancontent is minimal and heavily adapted andyet it fits with the puzzle format in whichShakespeare tends to be found in videogamese Chronicles of Shakespeare Romeo amp

Juliet ande Chronicles of Shakespeare A Midsummer Nightrsquos Dream are lusciously-illustrated puzzle games for the PC In themplayers act as one of the characters from theplays gathering items and clues through aShakespearean environment

Among the literally thousands of appsrelated to Shakespeare that can be found forthe iPad or Android tablet are

e Shakespearean Insult Creator which generates invectives drawn from a wholly Shakespearean vocabulary So nexttime you want to call someone a jerk trysomething more like ldquoou fusty follyfallenfustilarianrdquo

e Shakespeare Translator whichtranslates ldquonormal English words and phrasesinto the words of Shakespeare himselfrdquo

e Shakespeare Fortune Cookie which provides short quotes from the plays

and a small trivia game Shakespeare or Die a game that

scrambles the words of famous quotationsfrom the plays and asks you to identify theplay and character who spoke the line If youmake a mistake however beware the witchesese apps are either explicitly games or

they are coming out of a game-like impulse tomake Shakespeare more accessible to everyone with an internet connection

Brave New WorldsIn a world where Shakespeare is an industrycounted in the millions of dollars per yearit is so easy to forget that Shakespearersquos playsare just that ndash playsere is a sense of joyand fun and happiness embedded in theexperience of watching them Games are oneof the ways that people over the centuries

have tried to recapture that elusive sense ofplayfulness within Shakespeare So it makesperfect sense that now with the advent ofdigital technologies Shakespeare is movinginto the digital world with a vengeance

From big studio games likee ElderScrolls to small apps that can be downloadedfor free from talking bears to immersiveperformance experiences Shakespeare iseverywhere in video games Rather than beingan undiscovered country into which the Bard

is only just beginning to emerge games havein fact engaged with Shakespeare and his works for hundreds of years And they willprobably continue to do so for hundreds ofyears to come

rsquoSpeare is a scrollingarcade-stylegame with addedShakespeare trivia

Hamlet is aShakespeare-themed puzzle fromBig Fish Games

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Meet thy makers

Helen Mears fell into bardolatryduring her teenage years and has

never recovered She is a volunteersteward at Shakespearersquos Globe

which ensures a regular diet of theBard She teaches English Film andMedia at Suffolk New College and isa specialist in teaching Shakespeareusing active methods Her favouriteShakespearean actor is Jamie Parker

and her favourite plays are the SecondHistory Tetralogy She hopes to

finish her Masters in the AdvancedTeaching of Shakespeare very soonFind her on Twitter hipster_hels

Paul F Cockburn is an Edinburgh-based freelance magazine journalist who specialises in writing about

arts and culture equality issues andpopular science Hersquos sufficiently

grey-haired for his English Literaturetraining to have sort of overlapped

with The BBC Television Shakespeareproject saving at least some of the

plays from death by academiaFind him on Twitter paulfcockburn

Jen Richardson first fell in love withShakespeare as a 15-year-old schoolgirl

ldquoHe got under my skin and hersquos still theretodayrdquo After training with a Manchester-based drama tutor she went on to pursuean acting career Drama remains a greatinterest but her focus is now on sharing

her passion for Shakespeare throughher writing In her spare time Jen is

generally down in Stratford-upon-Avonsitting on her favourite bench behind

Holy Trinity ChurchFind her on Twitter The_JenJen

Andrew Bretz is a sessional instructorof English Literature and Drama

specialising in early modern dramaHe has taught at Wilfrid LaurierUniversity the University of Guelph

Brock University and McMasterUniversity For the past two years he

has taught a special summer intensiveat Ontariorsquos Stratford Festival His PhDdissertation was on the representationof sexual violence on the early modern

stage Find him on TwitterAndrewBretz001

Just some of the contributors to this issue of Shakespeare Magazine

Rosalind Lyons is a painter whohas exhibited widely in both mixedand solo shows with work in UK

and international private collections A life-long love of Shakespeare isreflected in many of her paintings

and a particular recent focus isShakespearersquos Globe theatre where shespent a period as artist-in-residenceShe is currently studying for a PhD

in Painting and ShakespeareanTheatre at Anglia Ruskin University

in CambridgeFind her on Twitter roslyons

52 SHAKESPEARE magazine

Contributors

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Page 24: Shakespeare Magazine 08

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24 SHAKESPEARE magazine

Stratford-upon-Avon

is has been recovered and is now once againvisible above the chancel arch

The Royal Shakespeare CompanyTheatre and the riversidee riverside park is home to several interestingsights It is from here that you can get a view ofthe Clopton Bridge pick up a river cruise feedthe swans and admire the Gower Memoriale memorial was presented to the town in1888 and features a statue of Shakespeareseated upon a plinth overlooking statues offour of his best known charactersese areHamlet Prince Hal Sir John Falsta ff and Lady

Macbeth who represent Comedy HistoryPhilosophy and Tragedy Closer to the theatreis the beautiful Swan Water Fountain unveiledin 1996 If you see the water frothing fear notit seems to be a sport amongst local youngstersto fill the fountain with washing up liquid on aregular basis

e Royal Shakespeare Companyeatre was built in 1932 but has recently undergonea complete refurbishment in both the mainand the Swan theatres e building reopened

in 2010 with both theatres having beenconverted to boast thrust stages and curvedgalleries similar in shape to the originalElizabethan playhousese world renowned

Royal Shakespeare Company performshere throughout the year staging plays byShakespeare and his contemporaries as well asby newer authors ey also run an educationprogramme exhibitions family activitiesduring the school holidays and theatre toursTo see Stratford from an entirely diff erentangle take the lift up the 36 metre high towerfor spectacular views across the town

Where to eat and drinkStratford has an excellent range of eateriesto suit all tastes and budgets ere is pubgrub afternoon teas world cuisine finedining pizza pasta and fish and chips Manyrestaurants off er pre-theatre menus and ifyoursquove been on a town walk you may find thatyou can get discount vouchers for your foodere are many pubs in Stratford including theGarrick Inn the oldest pub in the town whereyou can taste the Shakesbeer specially brewedto celebrate Shakespearersquos 450th Birthday in2014 If you want to spot RSC cast members

relaxing after their showse Dirty Duck on Waterside is the place to drink

Where to stay Again Stratford-upon-Avon has a good varietyof hotels bed and breakfasts and holidayhomes All the main chains have hotels inthe town from budget brands to the luxurynamesere is an excellent choice of bedand breakfast establishments in and aroundthe town again these will suit all tastes and

budgets Airbnb also has an interesting rangeof rooms flats and houses to rent in StratfordHowever be sure to book early especially forthe prime summer months

The Shakespeare Birthplace Trustwwwshakespeareorguk

The GowerMemorial Will andPrince Hal

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M

any places around the worldhave been named afterStratford-upon-Avon thebirthplace and home of William

Shakespeare And many of those Stratfordsare home to theatre festivals of varying sizesStratford in the state of Victoria in Australiahas an annual Shakespeare festival still goingevery year while Stratford in Connecticut inthe USA had a major theatre from the mid1950s to the mid 1980s Stratford Ontarioin Canada however stands out among thesetowns and festivals not merely in scope but ininternational reputation and prestige

In 1950 Canada had no home-growntradition of classical theatre Certainly

Shakespeare was performed but there hadbeen a strong anti-theatrical movement inCanada throughout the 19th century whoseeffects still lingered throughout the first half ofthe 20th As a cultural icon Shakespeare wasedifying to be sure but certainly not to beperformed The Stratford Festival changed allof that for Canada

In the late 1940s the local newspapers andgovernment of the town conceived of the ideaof revitalising Stratfordrsquos sagging economy by

capitalising on the name of the town and its

long association with the Bard They bandedtogether and under the leadership of TomPatterson they brought over Tyrone Guthrieand Alec Guinness for the first season in1953 Guthrie had famously directed Gielgud

inHamlet

at Elsinore Castle in Denmarkand had been the manager of the Old Vic inLondon He wanted to create an acting spacethat echoed the original Globe theatre whereactors were surrounded by the audience incontrast to the proscenium arch theatres thatdominated the London and New York scenes

From the first performance which tookplace inside a giant circus-style tent on thebanks of the Avon River the festival workedto create a new aesthetic of Shakespeareanperformance The thrust stage of the FestivalTheatre designed by Tanya Moiseiwitschhas been recognised as one of the greatinnovations in stage design of the 20th centuryGenerations of actors have had to learn howto address an audience on three sides of themsometimes only an armrsquos length away

The festival has been central to the careersof Canadian actors such as ChristopherPlummer Martha Henry and even WilliamShatner Actors from the US and UK havesought to play the festival as well including

Peter Ustinov Christopher Walken and JessicaTandy Indeed these international stars notonly lend credibility but have indelibly markedthe festival For instance Maggie Smithrsquosperformance as Rosalind in As You Like It inthe 1977 and 1978 seasons is legendary in thecompany and the town

Today the festival has expanded to includemultiple performance spaces a theatre schooluniversity accredited courses and the largesttheatrical costume shop in North America

It has started countless careers inspiredcompanies such as Torontorsquos SoulpepperTheatre and helped shape the Canadiantheatre landscape for over 50 years

Stratford Festival ndash Ontario Canada

wwwstratfordfestivalca

MEANWHILE

IN CANADATherersquos more than just one Stratford you knowAnd the one in Ontario Canada has a world-renownedShakespeare Festival gives us a tour

Stratford Ontario

SHAKESPEARE magazine 25

ldquoFrom the fi rst performancethe Festival worked tocreate a new aesthetic ofShakespearean performancerdquo

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Planning to performa short selection

from Shakespeare

The 30-Minute Shakespeare

Anthology contains 18 abridged

scenes including monologues from

18 of Shakespearersquos best-known plays

Every scene features interpretive stage

directions and detailed performance

and monologue notes all ldquoroad testedrdquo

at the Folger Shakespeare Libraryrsquos

annual Student Shakespeare Festival

THE 30-MINUTE SHAKESPEARE is an acclaimed series of abridgments that tell the story of each play while keeping the beauty ofShakespearersquos language intacte scenes and monologues in this anthology have been selected with both teachers and students inmind providing a complete toolkit for an unforgettable performance audition or competition

NICK NEWLIN has performed a comedy and variety act for international audiences for more than 30 years Since 1996 he hasconducted an annual teaching artist residency with the Folger Shakespeare Library in Washington DC

The 30-Minute Shakespeare series is available in print and ebook format at retailersand as downloadable PDFs from 30MinuteShakespearecom

The 30-Minute Shakespeare Anthology

includes one scene with monologue

from each of these plays

ldquoLays the groundwork for a truly fun and sometimes magical

experience guided by a sagacious knowledgeable and intuitive

educator Newlin is a staunch advocate for students learning

Shakespeare through performancerdquo mdashLibrary Journal

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Roaslind Lyons

28 SHAKESPEARE magazine

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For UK artist Rosalind Lyons the Bard is a

constant presence in her creative life She tells

us how Shakespeare inspired the haunting and

dreamlike works that adorn these pages

Words and paintings by Rosalind Lyons

Rosalind Lyons

SHAKESPEARE magazine 29

Left TheRoaring Boys

PAINTINGSHAKESPEARE

S hakespeare has long been at the heart ofmy work sometimes directly and obviouslyin the subjects and often in the titlesBut always Shakespearersquos words charactersand stories are there in my head when Iam painting ndash a perpetual conscious andunconscious presence

My style echoes that of the Renaissancepainters and Elizabethan portraits andthese influences combined with a life-long love of Shakespeare made my firstvisit to Shakespearersquos Globe pivotal Iexperienced a powerful sense of connectionand recognition Here suddenly ideasand themes with which I had been so longpreoccupied were brought to life

I subsequently gained access to theGlobe to draw and later spent some time

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as Artist in Residence thereat experienceprompted more in-depth exploration notonly of Shakespeare and painting but of therelationship between painting and theatreere are of course the strong visualconnections ndash both are spaces for spectacleand illusion But also compelling ideas oftransformation imagination storytelling andidentity And overall the theme of ambiguitye blurring of boundaries between realityand fiction male and female light andshadow past and present I am fascinated byhow we respond to history how we re-presentand re-imagine the past And the figures inmy paintings are imagined as belonging toboth now and then ndash flitting back and forthacross the threshold between past and presentbetween Shakespearersquos time and our own

modern worldI have painted some specific characters

from Shakespeare but many subjects ofmy paintings are anonymouse figuresare unknown their place purpose role is amysteryis anonymity is unsettlingereare clues in the setting in the costumes ndash orperhaps I should just say in the clothes theyare wearing ndash but the context is not obviousI am fascinated by the dramatic convention ofcross-dressing ndash and particularly the inherent

confusion as with Rosalind ( As You Like It )and Viola (Twelfth Night ) in the idea of aboy playing a girl playing a boy Many of thecharacters I invent are androgynous theirgender and age uncertainis ambiguityof identity interests me in the context ofvisual illusion and theatrical transformationthe idea of inbetween-ness and somethingunresolved

Like theatre my paintings are concerned with inventing characters and the creation

Right No MoreYielding But A

Dream

Roaslind Lyons

30 SHAKESPEARE magazine

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of an imaginary world and I am particularlyattracted to the fools fairies and witchesIn A Midsummer Nightrsquos Dream the fairiesrsquoactions may seem malevolent or benign or just mischievous but there is definitely a dark

side an underlying sense of threate Fool too is intriguing Shakespearersquosfools frequently describe themselvesor are referred to as a nobody but areunquestionably much moree fool is anoutsider concerned with but at the same timeseparate from the story He ndash or sometimesshe ndash doesnrsquot quite belong anywhere butseems to exist on the boundary between thefamiliar and the uncanny

I am attracted to the strange to mysteryand shadows and try to express through myimages a strong feeling that it could be thator maybe something else As Orsino says atthe conclusion of Twelfth Night ldquoA naturalperspective that is and is notrdquo While makinga painting and even when it is finished Idonrsquot know really who my characters are ndashthey remain elusive But I like not knowingand ultimately meanings always change anddepend on individual perceptions

My experience at the Globe led to aparticular fascination with the ambiguous and

protean quality of the theatrical performerhow their identity transforms and fluctuatesI was attracted by this when watching

Rosalind Lyons

SHAKESPEARE magazine 31

Above A MidwinterNightrsquos Dream

Right Three Fools

Far right FollowingDarkness

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rehearsals observing actors shift between selfand impersonation between diff erent realitiesand identities When they are not acting theyndash metaphorically and often literally ndash melt

into the shadows I am interested too in thephysical and symbolic threshold between lsquoonrsquoand lsquooff rsquo-stage the transformation inherentin an actor moving from the wings onto thestage assuming another self and anotheridentity Particularly evocative is the fact thatactors were colloquially known as shadowsin the Elizabethan playhouses ndash suggestingsomething unknowable and insubstantialIn the Prologue to Henry V Shakespeare hasthe Chorus describe the players as lsquociphersrsquoimplying deception and secrecy

Artists in the past who have tackledShakespeare have generally produced imagesthat directly illustrate the text or representfamous actors or scenes from a particularperformance Today as well as on the stageShakespearersquos plays are frequently re-imaginedin very successful film and TV adaptationsbut I have struggled to find more than ahandful of contemporary fine artists whohave engaged with Shakespeare on any levelPerhaps Shakespeare as a subject is seen

by some as too traditional too lsquopopularrsquoor simply just too lsquooldrsquo But in the theatreand in literature there is an ever-increasingenthusiasm for innovative interpretationsof the plays and for me Shakespeare is aconstant inspiration

e Prologue of Henry V also urges theaudience to ldquoPiece out our imperfections withyour thoughtsrdquo to liberate the imaginationand create another kind of reality to shapeour own fantasies within the ldquowooden Ordquo of

the theatre In my paintings I endeavour todo the same

Explore the work of Rosalind Lyons atwwwrosalindlyonscom

Above These Two CreaturesBelow Therersquos Magic In Thy Majesty

Roaslind Lyons

32 SHAKESPEARE magazine

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$amp( ) +-01

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Aidan OrsquoReilly

34 SHAKESPEARE magazine

Looking forRichard AidanOrsquoReilly is playingShakespearersquosbaddest monarch

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Aidan OrsquoReilly

SHAKESPEARE magazine 35

You are legally blind having been

diagnosed with retinoblastoma as an

infant How did this impact on your

acting aspirations and early career

ldquoMy parents did a good job raising me Inever grew up thinking of it as a handicap orthinking it could hold me back from what I wanted to do I couldnrsquot play sports at all soI think my parents were grateful that I hadsomething that I was passionate about from avery young age

ldquoI went to a public elementary school with a program designed for the blind so itfelt very natural for me to be the way that I was And acting has always been part of thatrdquo

You went to RADA in London Was

there a reason why you wanted to

train in England and not in the US

ldquoItrsquos always been an ambition of mine to

travel as far and wide as possible Also myhero growing up was Peter OrsquoToole ndash Iread his autobiography in high school andlearned he had gone to RADA and decided I wanted to go there too So I auditioned therenot knowing that RADA is arguably thebest drama school in the English-speaking world Consequently I was quite relaxed atthe audition which is probably why I gotin My ignorance can sometimes serve me well Going to RADA was a life-changing

Aidan OrsquoReilly is an actor with an

inspiring story Legally blind since he

was six months old he forged a passionfor drama at an early age Aidan went

on to gain a BA with honours from

Londonrsquos Royal Academy of Dramatic

Art before touring for three years with

the American Shakespeare Center

In 2012 Aidan was diagnosed with

sarcoma a rare cancer He bounced

back in 2014 after intensive treatment

and is now cancer-free We spoke to

Aidan as he prepared to play the title

role in Richard III for Californiarsquos Marin

Shakespeare Company We asked himto share his story and to give us his

take on one of Shakespearersquos most

fascinating characters

Interview by Jen Richardson

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Aidan OrsquoReilly

36 SHAKESPEARE magazine

experience I was lucky enough to havecontact with brilliant professors and Irsquom stillin awe of the students I went to school withI wouldnrsquot trade that experience for anythingrdquo After graduating from RADA you

went on the road with the American

Shakespeare Center Tell us a bit

about that

ldquoThat was one of the happiest times of mylife In many ways I got spoiled I was a working actor 11 months out of the yeartouring nationally seeing parts of the USI had never been to before doing plays Iloved and working with directors who werevehemently faithful and respectful to the text When I wasnrsquot on the road I was in residenceat the Blackfriars Playhouse in StauntonVirginia with many extraordinary actorsI was very lucky to be thererdquo

Three years ago you were diagnosed

with sarcoma How did you

overcome this enormous challenge

and return to the stage in 2014

ldquoThe only reason Irsquom still alive is because ofmy mother Lily and my wife Jocelynn AlsoI was fortunate that we caught it before it hadspread and it was on my leg and away fromany major organs

ldquoI am very grateful for my team of doctorsat UCSF who did an incredible job in mytreatment and follow-up care Irsquom glad to beback to workrdquo Yoursquore now due to play Richard III

with Marin Shakespeare Company

Howrsquos it going so far

ldquoAt this point Irsquom in the paperwork stage

of things A lot of reading the HenryVI s biographies of Richard as well asperformance history of the play itself Irsquomdoing a fair amount of limping around myapartment as well I canrsquot wait to get intorehearsals next weekrdquo Tell us about Marin Shakespeare

Company and what appealed to you

about working with them

ldquoRobert and Lesley [Currier MSCrsquos Artistic

Director and Managing Director] arefascinating people Their intelligence andhumour is contagious Without questionthere is a lot to be learned from themrdquo Richard IIIrsquos remains were discovered

in 2012 and reburied this year Is all

the new information about Richard

influencing your portrayal

ldquoYes and no My job isnrsquot to play the historicalRichard but the Richard that Shakespeare has

Aidan believesthat Richard IIIrsquosobsession withcontrol is whatcauses his downfall

ldquoPeter OrsquoToole wasmy hero He went to

RADA so I wanted to go there toordquo

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Crowning gloryAidan with MarinShakespearersquosRobert Currier

created Itrsquos helpful to know the facts of thesituation in order to gain insight into whathas been changed in Shakespearersquos versionof events

ldquoI met with a friend of mine who is a

retired surgeon who walked me through themedical information that has come to lighton Richardrsquos body and I will certainly usethat to inform my physical choicesrdquo Unlike many actors yoursquore the right

age to play the historical Richard III

Do you feel Richardrsquos relative youth

has been overlooked

ldquoI do Richard is a young man who believeshe is hardened by the experiences he andhis family endured during the War of theRoses and believes himself to be beyondhuman emotions and the lsquorestrictionsrsquo of aconscience He isnrsquot He pays the bill for thehorrible things he does That lack of self-knowledge is not exclusive to youth but I feelit makes him more sympathetic and relatableto an audiencerdquo Some people think Richard III shows

Shakespeare delivering a highly

effective piece of Tudor propaganda

Where do you stand on thatldquoI think Shakespeare has a soft spot foroutsiders and underdogs Although his playssometimes work within the confines of thebiases of Elizabethan society he canrsquot help butmake his lsquovillainsrsquo fascinating human beings

For as horrible as Richard is itrsquos amazing tosee how audiences relate and respond to himrdquo Which other important themes do

you feel Shakespeare deals with in

the playldquoThe history plays are full of extraordinarypeople who waste their lives and intelligence who sacrifice their humanity in pursuit of thecrown Itrsquos still happening today What is theattraction of power Richard never pauses tothink of why he wants the crown or if hersquodbe any good as king Turns out hersquos not butitrsquos this bizarre obsession with control thatpropels him to kill everyone off thatrsquos in his way Itrsquos also fascinating that the one characterthat is consistently kind to Richard is hisfather York

ldquoI think an argument can be made thatRichard in his warped way is trying to liveup to the image he has of his father Ofcourse York is dead and gone by the timeRichard III begins but you can glean a lotabout Richardrsquos inner workings in the way hespeaks about his father Of course itrsquos foolishto try to answer questions that Shakespearedoesnrsquot and Irsquom not trying to say this solvesa mystery but I think itrsquos interesting Itrsquos only

an element itrsquos not the answerrdquo Richard III is listed as a historical

play in the First Folio but in the

quarto edition it is termed a tragedy

Which category would you put the

play in and why

ldquoI think of the history plays from Richard II to Richard III as one vast play an epic thatencompasses all the categories I think if youlook at Richardrsquos progression through those

plays you see a great mind warped by the War of the Roses and that certainly adds tothe tragic element I think of Richard III asthe final chapter of a great epicrdquo

Aidan OrsquoReilly stars in Marin ShakespeareCompanyrsquos Richard III from 4-27 September

Aidan OrsquoReilly

SHAKESPEARE magazine 37

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Scotland Shakes

SHAKESPEARE magazine 39

Bonnie Prince

Brian Fergusonas Hamlet in theCitizens Theatre

production Photoby Tim Morozzo

Billy William Shakespeare is undoubtedly Englandrsquos

Bard But how is he viewed north of the border

Our Caledonian correspondent surveys the state

of Shakespeare in Scotland and meets esteemed

outdoor theatre company Bard in the Botanics

Words Paul F Cockburn

T owards the end of May thisyear a BBC Scotland afternoon

news bulletin surprisinglyturned its attention to aforthcoming production of

ldquoone of William Shakespearersquos best lovedplaysrdquo ndash A Midsummer Nightrsquos DreamHowever this particular production wasnrsquotconsidered newsworthy because it came froman amateur group based in Dumfries andGalloway Not even that the CrossmichaelDrama Club were one of just seven amateurScottish groups taking part in the Royal

Shakespeare Companyrsquos Open Stages project which aims to help amateur companies

extend their repertoiresNo the lsquohookrsquo was how this newproduction was Shakespeare ldquobut no asyou micht ken itrdquo Because it had beenreimagined in Scots as A MidsimmerNichtrsquos Dreme

As it happens writer John Burns saysthat his principle reason for translating AMidsimmer Nichtrsquos Dreme was simply theintuition that it being in Scots would workto the benefit of the production ldquoItrsquos not

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Scotland Shakes

40 SHAKESPEARE magazine

so much that 16th century English canrsquot docertain things more that using Scots brings itcloser to a Scottish audience and to audiences who might think Shakespeare too fancyrdquo hesays ldquoI feel too that Scots can catch the sheerphysical power of Shakespearersquos language He writes lines you really feel physically when

you say them out loud My intention was touse Scots to produce a text that was actableand which would be accessible and enjoyablefor the audience and the Scots was a majorpart of thatrdquo

Arguably translating Shakespeare intoScots ndash viewed by many as a distinct languagefrom English ndash is just one way of finding thecontinued relevancies of Shakespearersquos writing with the here and now Certainly John Burns was keen to see if Scots ldquocould match the way

Shakespeare switches tonehellip from broad attimes bawdy humour to moments that aremore serious or even sinisterrdquo

Yet there is a wider perspective whether wersquore discussing translation into Scots orsaying Shakespearersquos words with a Scottishaccent Willy Maley and Andrew Murphyin their introduction to Shakespeare andScotland (published by Manchester UniversityPress in 2004) go as far as describing thetranslation of Shakespearersquos Macbeth into

Scots as ldquoa patriotic actrdquo not least becauseof ldquothe political commitment implicit intranslating from English to Scots reversing

the dominant dubbing practice infi

lmsrdquoGlasgow-based novelist and playwright Alan Bissett ndash who actively campaigned fora Yes vote during last yearrsquos IndependenceReferendum ndash has since written about howsince the 1970s Scottish theatre had ldquoadeep engagement with the shifting beastof Scottish politicsrdquo Although Bissett wasfocusing primarily on original works byScottish playwrights and directors itrsquos worthpointing out that Shakespeare ndash despite therebeing absolutely no evidence to prove he evertravelled north of Carlisle ndash has played hisown part in this

As Maley and Murphy point outldquoScotlandhellip never had precisely the samerelationship with the Bard as England hasbut has experienced a fraught process ofappropriation incorporation and resistancerdquoIn part this is because Shakespeare ndash in hislatter career ndash was among the first lsquoBritishrsquo writers Many of his later plays ndash Cymbeline King Lear even Hamlet ndash were produced

A tartan-cladAntipholus andDromio in Bard inthe Botanicsrsquo TheComedy of Errors

Brian FergusonrsquosHamlet CitizensTheatre productionPhoto by TimMorozzo

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under the patronage of Scotlandrsquos King JamesVI (aka James I of England) Each in theirown way can be said to touch on ldquothe matterof Britainrdquo the complex relationship between

the constituent elements of Jamesrsquos newlsquounitedrsquo kingdom which the Stuart monarch was determined to see joined into oneat never quite happened of course

Even after the 1707 Act of UnionScotland retained its own legal educationaland religious systems along with anaccompanying sense of Scottish identity ndash which survived even the height of the Britishempire Yet from the 1970s on there havebeen notable changes in how Shakespeareis treated by Scotlandrsquos producing theatrecompanies Several years ago GlasgowrsquosCitizenseatre delivered a powerful Romeoand Juliet in part because of their decision toset the action in a present-day sectarian Westof Scotland ndash with accents to match

ldquoEnglish-accented Shakespeare carriesa specific resonance in Scotland one thatdirectors usually choose to avoidrdquo pointsout Mark Fisher a freelance journalist criticand author of the forthcoming book How toWrite Abouteatre

ldquoIrsquom not sure exactly when attitudesstarted to change but Irsquod say the argumentin favour of Scottish-accented productionshad been pretty much won by the 1990sBy that time companies such as Raindogand directors such as Hamish Glen hadbeen making a point of casting very Scottishproductions of Shakespearerdquo

One example of how things hadprogressed even by 1992 was the late KennyIrelandrsquos production of A Midsummer

Nightrsquos Dream his first as Artistic Directorat Edinburghrsquos Royal Lyceum ldquoHe castthe mechanicals with Scottish accents andeveryone else with English accentsrdquo MarkFisher explains ldquois I said in my review wasa fundamental error ndash or some such phrasee message it sent out was that people withScottish accents were foolish figures of fun whereas people with English accents wereserious figures of respect

ldquoIreland reacted furiously to my review

and made the case that he had based thecasting of the mechanicals around (the actor) Andy Gray who has a Scottish accent Inother words the meaning I inferred hadnot been deliberate I think itrsquos true to sayhowever that Ireland never cast a Shakespearelike that againrdquo

Gordon Barr is Artistic Director of

Glasgow-based Bard in the BotanicsScotlandrsquos only professional Shakespearecompany (see following pages)

ldquoWersquove never gone out of our way tomake Scottish versions of these texts norhave we gone out of our way to have classicaltraditional voicesrdquo he says ldquoMost of our coreactors have made their careers up here so wethink of them as Scottish actors

ldquoat is important to us to not overlylook outwards for the acting company As

much as possible we work with people who are based in Scotland Wersquore regularlyproducing Shakespeare here and we want tobe a part of the training to ensure that there isa range of strong classical actors hererdquo

Citizens Theatrewwwcitzcouk

Owen Whitehawas the Fool andDavid Hayman asLear in CitizensTheatrersquos King Lear Photo by TimMorozzo

Scotland Shakes

SHAKESPEARE magazine 41

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Bard in theBotanicsrsquo As You Like

It takes Rosalind andOrlando into theopen air

ldquoTouring is something that we have wanted to do foryears but was somethingthat we could not afford

to do without fundingrdquo says Gordon Barr Artistic Director of Scotlandrsquos only professionaloutdoor Shakespeare festival Bard in theBotanics If therersquos any irony attached tothe companyrsquos first major tour of Scotland which took place in early 2015 itrsquos that theperformances of their acclaimed Romeo and Juliet ndash featuring a cast of five ndash were playedexclusively indoors

ldquoNobody is touring classical theatre in

Scotland at the minute so itrsquos importantto usrdquo Barr adds ldquoOur work is so muchabout accessibility One of the joys of beingoutdoors is that people come to see the work who wouldnrsquot buy a ticket for a theatre Ifyou can bring a picnic sit out on the grass while watching the show it feels easier moreaccessible But people canrsquot come from Thursoto Glasgow for a night just to see a productionof Shakespeare They should be able to see itin Thurso So that is kind of where the urge totour came fromrdquo

Bard in the Botanics has presented outdoorShakespeare within the grounds of GlasgowrsquosBotanic Gardens since 2003 This yearrsquoslsquoUnlikely Wondersrsquo season presented newproductions of Loversquos Labourrsquos Lost The Merchant of Venice Richard II and A Midsummer Nightrsquos Dream in lsquoreprsquo between24 June and 1 August

The companyrsquos founder Scott PalmerBarr explains had done a lot of his training atthe Oregon Shakespeare Festival one of the

biggest in North America ldquoWith the kindof drive and enthusiasm that only Americanshave he managed to convince the entire cityof Glasgow that outdoor Shakespeare would work and that the weather wasnrsquot going to be

a problemrdquoTwo years later Palmer moved on and Barr

ndash originally involved as a director ndash succeededhim as Artistic Director ldquoIf anyone then hadsaid that I would end up spending 12 yearsrunning an outdoor Shakespeare festival I wouldnrsquot have believed themrdquo he says in hisoffice hidden behind some of the Botanicsrsquogardening sheds ldquoI very quickly fell in love with it once I started working here Despiteall the trials and tribulations that outdoortheatre in Scotland brings with it therersquos just

something magical and special about it Itrsquos a very close-knit company and thatrsquos sort of keptus all here as long as we have beenrdquo

While the annual summer season ofShakespeare plays in the Botanics will remainat the centre of what the company does ndashldquoOtherwise Bard in the Botanics becomesa rather strange namerdquo ndash Barr is very much

Outof theGarden

This year has seen Glasgowrsquos Bard in the Botanicsdo something completely unexpected They wentout on a tour of ndash whisper it ndash indoor venueshellip

Scotland Shakes

42 SHAKESPEARE magazine

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Scotland Shakes

SHAKESPEARE magazine 43

focused on building on the touring side ldquoBecause it was our first ever tour we

did end up taking Romeo and Juliet to theestablished Scottish touring circuitrdquo he addsldquoIt takes a while to build up relationships with the smaller venues thatrsquos going to bean ongoing process for us Even so we weretaking Romeo and Juliet to places like Mulland Stranraer ndash communities and venues thathavenrsquot had a lot of classical theatre comingthrough themrdquo

The choice of play was deliberate too ldquoIt was a production that was ready to go whichhad received five star reviews and sold out itsextended run in the Botanics in 2012 So weknew that the work was good but therersquos nodoubt that for a first tour we wanted to makeit easier for the venues to sell it Most venuesknow they can find an audience for Romeo and Juliet rdquo

In time he hopes that audiences aroundthe rest of Scotland will come to trust the Bardin the Botanics name sufficiently to take on theless familiar plays

ldquoYou just donrsquot know how quickly acommunity is going to turn out for Henry IV yetrdquo he says ldquoHopefully three or four toursdown the line theyrsquore going to turn out forBard in the Botanics ndash and if it happens to be

Henry IV well thatrsquos greatrdquoGiven their reimagining of A MidsummerNightrsquos Dream as a 1920s burlesque musicalis there a particular Bard in the Botanicsapproach to Shakespeare

ldquoOur kind of unofficial motto is lsquoBe BoldBe Braversquordquo Barr says ldquoIf wersquore continuingto stage these plays around 400 years afterShakespearersquos death I think therersquos an urgencyto ask lsquoWhyrsquo It is important to questionlsquoWhat is the story that we want to tellrsquo I wantto see how these plays intersect with historyand todayrsquos society not to present museumpieces

ldquoItrsquos always with an eye to try to releasesomething thatrsquos within the textrdquo Barrinsists ldquoWersquore not remotely interested ininnovation for innovationrsquos sake The playsare masterpieces thatrsquos essentially why wersquorestill doing them 400 years later But to revealsomething thatrsquos unexpected or new thatrsquosimportant to usrdquo

Bard in the Botanics

wwwbardinthebotanicscouk

Rosalind and Audreyin the forest Bardin the Botanicsrsquo As You Like It

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Shakespeare at the Tobacco Factory stf 2016 Seasonco-production with Tobacco Factory Theatres

HAMLETBy William Shakespeare

Directed by Andrew Hilton

Main run Thu 11 February ndash Sat 26 March 2016

In repertoire with Allrsquos Well That Ends WellMon 25 ndash Wed 27 April Sat 30 April 2016

The most famous play in world drama Hamlet

turns a new face to every decade So many

elements - political madness sex murder ndash all

brought together in a drama that is both a thriller

and the profoundest meditation on our human

condition

ldquoThrilling workrdquo The Guardian on Romeo amp Juliet

ldquoBullseyerdquo WhatsOnStage on Romeo amp Juliet

Shakespeare at the Tobacco Factory Friends Priority Booking opens Wed 23 September 10am

wwwstf-theatreorguk

Tobacco Factory Theatres Members Priority Booking opens Wed 16 September 10am

wwwtobaccofactorytheatrescom

Public Booking opens Wed 30 September 10am

Tobacco Factory Box Office 0117 902 0344

ALLrsquoS WELL THAT ENDS WELLBy William Shakespeare

Directed by Andrew Hilton

Main run Thu 31 March ndash Sat 23 April 2016

In repertoire with Hamlet

Thu 28 ndash Fri 29 April Sat 30 April

A young woman using skills bequeathed herby her father saves the French Kingrsquos life and

is rewarded with the right to choose her own

husband But what if the chosen one wonrsquot play

the game How can she get him into bed How

can she make him love her

ldquo There is something approaching real

magic hererdquo The Arts Desk on The School for Scandal

P h o t o s M

a r k D o u e t

Dorothea MyerBennett in Richard III

Benjamin Whitrowand Julia Hills in The

School For Scandal

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Having conquered

Hollywood and vanquished

the global entertainment

industry video games now

on our culture So where

does the Bard stand in all of

this We sent a Shakespeare

scholar to investigatehellip

Words Andrew Bretz

Shakespeare video games

46 SHAKESPEARE magazine

T eGamersquos A oot Silent Hill is one

big-name gamewhich includesShakespearereferences

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Shakespeare video games

SHAKESPEARE magazine 47

German cardboard Macbeth datingfrom the early1800s

Hamlet reimaginedRyan Northrsquos To Be

Or Not To Be

W

hen you walk intothe wood panelled Victorian Gothicismof the Gail Kern Paster

Reading Room at theFolger Shakespeare Library in WashingtonDC video games are probably the lastthing on your mind Buried deep withinthe archives however are a set of fragilecardboard figures printed in Germany in theearly 1800s representing each of the maincharacters of Macbeth

Nineteenth century German children would play with these figures on smallcardboard stages no bigger than a dollhouseey could replicate the story as it was toldin Shakespeare or use their imagination tochange the ending letting Lady Macbethsurvive and bringing Duncan back from thedead if they so chosee limits of the game were the limits of their imagination

Today the lsquogamificationrsquo of Shakespeareis a big business from Ryan Northrsquos choose-your-own-adventure edition of Hamlet To Be Or Not To Be to IDW Gamesrsquosupcoming Kill Shakespeare board gamebased on the comic of the same name

Gamifying Shakespeare is filtering intoschools libraries and the theatrical worldas well with the University of California atDavis the Stratford Festival in Ontario theGlobeeatre in London and the LondonMetropolitan Archives all experimenting with video game elements in exhibits productionsand research

Why video games In a sense this is thelogical next step in the media development ofShakespeare Hersquos everywhere in other media

books movies merchandise But videogamese answer for that depends on whoyou ask

StorytellingOccasionally individuals or publishinghouses develop video games that try to tellthe story of say Hamlet yet this is relativelyrare One example would be Elsinore a time-looping narrative adventure game set in the world of the play Players play the game as

Ophelia who wakes up knowing that in fourdays the entire court will be dead and shemust do something to stop ite problemis that she is stuck in a time loop reliving thesame four days over and over againat said Shakespearersquos presence in the

video game industry tends to be focused oncitation rather than adaptation of the playsat is video games for Xbox Playstationand other popular gaming systems often

just cite Shakespearersquos plays as a part of acommon cultural heritageese games donrsquotrestage say Hamlet but they quote the playIn these cases Shakespeare is used to establisha point of identification for the audience His writing tells the audience something aboutthe character or the situation

Given that audiences are supposedto be able to identify the quotations asShakespearean it is unsurprising that Hamlet is the most popular text for game designers to

cite Ine Elder Scrolls Online for instancea merchant NPC (non-player character)quotes Polonius when players interact sayingldquoNeither a borrower nor a lender berdquoe words establish the NPCrsquos role as a merchant while fitting the medieval world of thegame In the game LA Noire upon pickingup a fake shrunken head at a crime scene adetective leaps into high melodrama withldquoAlas poor Yorick I knew him Horatiordquoequotation and the clever voice acting establish

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Shakespeare video games

48 SHAKESPEARE magazine

the characterrsquos strait-laced yet macabre senseof humour

Sometimes citing Shakespeare is a partof a critique of a larger theme In the game Mass E ff ect the Elcor are a race of elephantinealiens who preface all statements with adescription of the emotion they are feelingand who speak in a slow monotonous drone As players interact with the expansive worldthey can discover a number of advertisementsfor an all-Elcor Hamlet e idea of theElcor actor ndash the ultimate in a flat woodenperformer ndash having to preface ldquoTo be or not

to berdquo with ldquomorose ruminationrdquo goes beyondthe simple humour of a bad Shakespeareperformance It subtly asks what it is aboutacting (and especially voice acting) that isvaluable

Shakespeare can appear in video gamesnot merely as a marker or contextualisationtool but as a part of a puzzle For example inthe game Silent Hill 3 players must arrange aset of Shakespeare anthologies on a bookshelfin an abandoned shopping mall in order to

proceed in the game At the hardest levelthe puzzle clue takes the form of a poemthat references all the major tragedies Romeoand Juliet King Lear Macbeth Othello andof course Hamlet e bloody nature of thetragedies fits with the bloody nature of theSilent Hill series of games which fall into thesurvival horror genre

Popular video games have also servedas the inspiration for games that engage with Shakespeare in a more direct way For

example Daniel Fischlin at the Universityof Guelph in Ontario Canada led a teamthat created a Flash game called rsquoSpeare Itrsquos

a scrolling arcade-style game suggesting thersquo80s hit Galaga which sees players identifyingand navigating through a series of enemies who turn into words upon being destroyede player progresses through the levelsby collecting the correct words to createShakespearean quotes learning Shakespeareantrivia along the way

ImmersionOne of the most exciting aspects of videogames is the ability to immerse the player inthe world of the game in a way that othermedia simply cannot do Being able to walkaround Prosperorsquos cell Julietrsquos balcony orto stand before the ghost of Hamletrsquos fatheras he cries out ldquoList list O listrdquo ndash theseexperiences are made possible through videogame technology

Students of Scenic Arts at the Universityof Hildesheim in Germany created Projekt ARIEL or SturmMOD in 2008 using a lsquomodrsquo(or modification) to the engine that runs

the game Far Cry 1 e performance artproject allowed users to experience Prosperorsquosisland interacting with certain parts andexploring others Players could walk aroundan imaginative rendition of Prosperorsquos cell and witness or interact with elements of the playincluding diff erent characters like CalibanProspero and Miranda

Four days to savethe Danish court

Elsinore

Another Hamlet reference this timein LA Noire

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Shakespeare video games

SHAKESPEARE magazine 49

Gina Bloom at the University of Californiaat Davis is presently spearheading a projectthat will be demonstrated in the lobby of theStratford Festival theatre in Ontario Canadathis summere project Play the Knave AShakespeare Performance Videogame lets usersdesign a virtual performance space and thenperform a scene from a Shakespeare playinhabiting this constructed space with anavatar As a Davis insider explains ldquoWe use akinect motion capture camera to capture theuserrsquos skeletal data so that players use theirentire bodies to control their avatarrsquos gesturesonscreen all the while reciting the lines from

Shakespearersquos scenerdquo is literally immersesthe players in the scene

Shakespearersquos Globe eatre in Londontook another tactic regarding immersionin the production of the game HemmingsrsquoPlay Company Hosted on the Playgroundportion of the Globersquos website and thusaimed at an audience of children the gamehas players taking on the role of Hemmingsan Elizabethan bear who leads a troupe oftheatrical animals such as Kit the Cat Dekker

the Dog and Slye the Foxe turn-based game leads players through

the vagaries of Elizabethan theatre practicefrom patronage to lost props and the plagueBy the end of the game players must earnenough money to rebuild the Globe after itburns down during a performance of HenryVIII

Also from Shakespearersquos Globe are twoinnovative video experiences created forchildren aged five to 11 e first Exploring

Shakespeare features two boys on a tour ofthe Globe theatre who sneak off to explorebackstage e video illustrates four plays

using short animations that are keyedto things the boys find backstage etechnology combines live action film andanimation to create an interactive touchablegame Filled with mini-games quizzes andinteresting facts about Shakespeare the gameallows players to click through the narrativeor to stop and learn more as they go along

e second video called Staging It usesthe same technology as the first film but thistime is for the 11-16 age group In this gamee Globe has filmed two actors performingfamous duologues from A MidsummerNightrsquos Dream and Macbeth on the Globestage Rather than shoot it once the actorshave performed their lines in diff erent ways(happy flirtatious defensive and so on)creating several diff erent clips per linePlayers can watch each of the clips and addtheir choice to a dynamic storyboard tobuild up their final scene Impressively theplatform allows for up to 1000000 diff erentcombinations of clips

Apps and Mini-GamesItrsquos when you start to look outside of therealm of popular video game platformslike Xbox or Playstation that Shakespeare

Silent Hill 3 Brush upyour Shakespeare ifyou want to survive

Hemmingsrsquo PlayCompany fromShakespearersquosGlobe

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Shakespeare video games

50 SHAKESPEARE magazine

really starts to pop up wherever you looke ubiquity of Shakespeare is especiallynoticeable when you start to look at apps andmini-games designed for phones and tablets

In 2012 Big Fish Games released aniPhone and iPad game called Hamlet that featured all the main characters ofShakespearersquos play but transposed them intoa save-the-princess narrative puzzle game A time traveller lands in Denmark andaccidentally kills Hamlet and so players mustcomplete his journey for him saving Opheliaand killing Claudiuse Shakespeareancontent is minimal and heavily adapted andyet it fits with the puzzle format in whichShakespeare tends to be found in videogamese Chronicles of Shakespeare Romeo amp

Juliet ande Chronicles of Shakespeare A Midsummer Nightrsquos Dream are lusciously-illustrated puzzle games for the PC In themplayers act as one of the characters from theplays gathering items and clues through aShakespearean environment

Among the literally thousands of appsrelated to Shakespeare that can be found forthe iPad or Android tablet are

e Shakespearean Insult Creator which generates invectives drawn from a wholly Shakespearean vocabulary So nexttime you want to call someone a jerk trysomething more like ldquoou fusty follyfallenfustilarianrdquo

e Shakespeare Translator whichtranslates ldquonormal English words and phrasesinto the words of Shakespeare himselfrdquo

e Shakespeare Fortune Cookie which provides short quotes from the plays

and a small trivia game Shakespeare or Die a game that

scrambles the words of famous quotationsfrom the plays and asks you to identify theplay and character who spoke the line If youmake a mistake however beware the witchesese apps are either explicitly games or

they are coming out of a game-like impulse tomake Shakespeare more accessible to everyone with an internet connection

Brave New WorldsIn a world where Shakespeare is an industrycounted in the millions of dollars per yearit is so easy to forget that Shakespearersquos playsare just that ndash playsere is a sense of joyand fun and happiness embedded in theexperience of watching them Games are oneof the ways that people over the centuries

have tried to recapture that elusive sense ofplayfulness within Shakespeare So it makesperfect sense that now with the advent ofdigital technologies Shakespeare is movinginto the digital world with a vengeance

From big studio games likee ElderScrolls to small apps that can be downloadedfor free from talking bears to immersiveperformance experiences Shakespeare iseverywhere in video games Rather than beingan undiscovered country into which the Bard

is only just beginning to emerge games havein fact engaged with Shakespeare and his works for hundreds of years And they willprobably continue to do so for hundreds ofyears to come

rsquoSpeare is a scrollingarcade-stylegame with addedShakespeare trivia

Hamlet is aShakespeare-themed puzzle fromBig Fish Games

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Meet thy makers

Helen Mears fell into bardolatryduring her teenage years and has

never recovered She is a volunteersteward at Shakespearersquos Globe

which ensures a regular diet of theBard She teaches English Film andMedia at Suffolk New College and isa specialist in teaching Shakespeareusing active methods Her favouriteShakespearean actor is Jamie Parker

and her favourite plays are the SecondHistory Tetralogy She hopes to

finish her Masters in the AdvancedTeaching of Shakespeare very soonFind her on Twitter hipster_hels

Paul F Cockburn is an Edinburgh-based freelance magazine journalist who specialises in writing about

arts and culture equality issues andpopular science Hersquos sufficiently

grey-haired for his English Literaturetraining to have sort of overlapped

with The BBC Television Shakespeareproject saving at least some of the

plays from death by academiaFind him on Twitter paulfcockburn

Jen Richardson first fell in love withShakespeare as a 15-year-old schoolgirl

ldquoHe got under my skin and hersquos still theretodayrdquo After training with a Manchester-based drama tutor she went on to pursuean acting career Drama remains a greatinterest but her focus is now on sharing

her passion for Shakespeare throughher writing In her spare time Jen is

generally down in Stratford-upon-Avonsitting on her favourite bench behind

Holy Trinity ChurchFind her on Twitter The_JenJen

Andrew Bretz is a sessional instructorof English Literature and Drama

specialising in early modern dramaHe has taught at Wilfrid LaurierUniversity the University of Guelph

Brock University and McMasterUniversity For the past two years he

has taught a special summer intensiveat Ontariorsquos Stratford Festival His PhDdissertation was on the representationof sexual violence on the early modern

stage Find him on TwitterAndrewBretz001

Just some of the contributors to this issue of Shakespeare Magazine

Rosalind Lyons is a painter whohas exhibited widely in both mixedand solo shows with work in UK

and international private collections A life-long love of Shakespeare isreflected in many of her paintings

and a particular recent focus isShakespearersquos Globe theatre where shespent a period as artist-in-residenceShe is currently studying for a PhD

in Painting and ShakespeareanTheatre at Anglia Ruskin University

in CambridgeFind her on Twitter roslyons

52 SHAKESPEARE magazine

Contributors

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Page 25: Shakespeare Magazine 08

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M

any places around the worldhave been named afterStratford-upon-Avon thebirthplace and home of William

Shakespeare And many of those Stratfordsare home to theatre festivals of varying sizesStratford in the state of Victoria in Australiahas an annual Shakespeare festival still goingevery year while Stratford in Connecticut inthe USA had a major theatre from the mid1950s to the mid 1980s Stratford Ontarioin Canada however stands out among thesetowns and festivals not merely in scope but ininternational reputation and prestige

In 1950 Canada had no home-growntradition of classical theatre Certainly

Shakespeare was performed but there hadbeen a strong anti-theatrical movement inCanada throughout the 19th century whoseeffects still lingered throughout the first half ofthe 20th As a cultural icon Shakespeare wasedifying to be sure but certainly not to beperformed The Stratford Festival changed allof that for Canada

In the late 1940s the local newspapers andgovernment of the town conceived of the ideaof revitalising Stratfordrsquos sagging economy by

capitalising on the name of the town and its

long association with the Bard They bandedtogether and under the leadership of TomPatterson they brought over Tyrone Guthrieand Alec Guinness for the first season in1953 Guthrie had famously directed Gielgud

inHamlet

at Elsinore Castle in Denmarkand had been the manager of the Old Vic inLondon He wanted to create an acting spacethat echoed the original Globe theatre whereactors were surrounded by the audience incontrast to the proscenium arch theatres thatdominated the London and New York scenes

From the first performance which tookplace inside a giant circus-style tent on thebanks of the Avon River the festival workedto create a new aesthetic of Shakespeareanperformance The thrust stage of the FestivalTheatre designed by Tanya Moiseiwitschhas been recognised as one of the greatinnovations in stage design of the 20th centuryGenerations of actors have had to learn howto address an audience on three sides of themsometimes only an armrsquos length away

The festival has been central to the careersof Canadian actors such as ChristopherPlummer Martha Henry and even WilliamShatner Actors from the US and UK havesought to play the festival as well including

Peter Ustinov Christopher Walken and JessicaTandy Indeed these international stars notonly lend credibility but have indelibly markedthe festival For instance Maggie Smithrsquosperformance as Rosalind in As You Like It inthe 1977 and 1978 seasons is legendary in thecompany and the town

Today the festival has expanded to includemultiple performance spaces a theatre schooluniversity accredited courses and the largesttheatrical costume shop in North America

It has started countless careers inspiredcompanies such as Torontorsquos SoulpepperTheatre and helped shape the Canadiantheatre landscape for over 50 years

Stratford Festival ndash Ontario Canada

wwwstratfordfestivalca

MEANWHILE

IN CANADATherersquos more than just one Stratford you knowAnd the one in Ontario Canada has a world-renownedShakespeare Festival gives us a tour

Stratford Ontario

SHAKESPEARE magazine 25

ldquoFrom the fi rst performancethe Festival worked tocreate a new aesthetic ofShakespearean performancerdquo

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Planning to performa short selection

from Shakespeare

The 30-Minute Shakespeare

Anthology contains 18 abridged

scenes including monologues from

18 of Shakespearersquos best-known plays

Every scene features interpretive stage

directions and detailed performance

and monologue notes all ldquoroad testedrdquo

at the Folger Shakespeare Libraryrsquos

annual Student Shakespeare Festival

THE 30-MINUTE SHAKESPEARE is an acclaimed series of abridgments that tell the story of each play while keeping the beauty ofShakespearersquos language intacte scenes and monologues in this anthology have been selected with both teachers and students inmind providing a complete toolkit for an unforgettable performance audition or competition

NICK NEWLIN has performed a comedy and variety act for international audiences for more than 30 years Since 1996 he hasconducted an annual teaching artist residency with the Folger Shakespeare Library in Washington DC

The 30-Minute Shakespeare series is available in print and ebook format at retailersand as downloadable PDFs from 30MinuteShakespearecom

The 30-Minute Shakespeare Anthology

includes one scene with monologue

from each of these plays

ldquoLays the groundwork for a truly fun and sometimes magical

experience guided by a sagacious knowledgeable and intuitive

educator Newlin is a staunch advocate for students learning

Shakespeare through performancerdquo mdashLibrary Journal

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Roaslind Lyons

28 SHAKESPEARE magazine

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For UK artist Rosalind Lyons the Bard is a

constant presence in her creative life She tells

us how Shakespeare inspired the haunting and

dreamlike works that adorn these pages

Words and paintings by Rosalind Lyons

Rosalind Lyons

SHAKESPEARE magazine 29

Left TheRoaring Boys

PAINTINGSHAKESPEARE

S hakespeare has long been at the heart ofmy work sometimes directly and obviouslyin the subjects and often in the titlesBut always Shakespearersquos words charactersand stories are there in my head when Iam painting ndash a perpetual conscious andunconscious presence

My style echoes that of the Renaissancepainters and Elizabethan portraits andthese influences combined with a life-long love of Shakespeare made my firstvisit to Shakespearersquos Globe pivotal Iexperienced a powerful sense of connectionand recognition Here suddenly ideasand themes with which I had been so longpreoccupied were brought to life

I subsequently gained access to theGlobe to draw and later spent some time

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as Artist in Residence thereat experienceprompted more in-depth exploration notonly of Shakespeare and painting but of therelationship between painting and theatreere are of course the strong visualconnections ndash both are spaces for spectacleand illusion But also compelling ideas oftransformation imagination storytelling andidentity And overall the theme of ambiguitye blurring of boundaries between realityand fiction male and female light andshadow past and present I am fascinated byhow we respond to history how we re-presentand re-imagine the past And the figures inmy paintings are imagined as belonging toboth now and then ndash flitting back and forthacross the threshold between past and presentbetween Shakespearersquos time and our own

modern worldI have painted some specific characters

from Shakespeare but many subjects ofmy paintings are anonymouse figuresare unknown their place purpose role is amysteryis anonymity is unsettlingereare clues in the setting in the costumes ndash orperhaps I should just say in the clothes theyare wearing ndash but the context is not obviousI am fascinated by the dramatic convention ofcross-dressing ndash and particularly the inherent

confusion as with Rosalind ( As You Like It )and Viola (Twelfth Night ) in the idea of aboy playing a girl playing a boy Many of thecharacters I invent are androgynous theirgender and age uncertainis ambiguityof identity interests me in the context ofvisual illusion and theatrical transformationthe idea of inbetween-ness and somethingunresolved

Like theatre my paintings are concerned with inventing characters and the creation

Right No MoreYielding But A

Dream

Roaslind Lyons

30 SHAKESPEARE magazine

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of an imaginary world and I am particularlyattracted to the fools fairies and witchesIn A Midsummer Nightrsquos Dream the fairiesrsquoactions may seem malevolent or benign or just mischievous but there is definitely a dark

side an underlying sense of threate Fool too is intriguing Shakespearersquosfools frequently describe themselvesor are referred to as a nobody but areunquestionably much moree fool is anoutsider concerned with but at the same timeseparate from the story He ndash or sometimesshe ndash doesnrsquot quite belong anywhere butseems to exist on the boundary between thefamiliar and the uncanny

I am attracted to the strange to mysteryand shadows and try to express through myimages a strong feeling that it could be thator maybe something else As Orsino says atthe conclusion of Twelfth Night ldquoA naturalperspective that is and is notrdquo While makinga painting and even when it is finished Idonrsquot know really who my characters are ndashthey remain elusive But I like not knowingand ultimately meanings always change anddepend on individual perceptions

My experience at the Globe led to aparticular fascination with the ambiguous and

protean quality of the theatrical performerhow their identity transforms and fluctuatesI was attracted by this when watching

Rosalind Lyons

SHAKESPEARE magazine 31

Above A MidwinterNightrsquos Dream

Right Three Fools

Far right FollowingDarkness

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rehearsals observing actors shift between selfand impersonation between diff erent realitiesand identities When they are not acting theyndash metaphorically and often literally ndash melt

into the shadows I am interested too in thephysical and symbolic threshold between lsquoonrsquoand lsquooff rsquo-stage the transformation inherentin an actor moving from the wings onto thestage assuming another self and anotheridentity Particularly evocative is the fact thatactors were colloquially known as shadowsin the Elizabethan playhouses ndash suggestingsomething unknowable and insubstantialIn the Prologue to Henry V Shakespeare hasthe Chorus describe the players as lsquociphersrsquoimplying deception and secrecy

Artists in the past who have tackledShakespeare have generally produced imagesthat directly illustrate the text or representfamous actors or scenes from a particularperformance Today as well as on the stageShakespearersquos plays are frequently re-imaginedin very successful film and TV adaptationsbut I have struggled to find more than ahandful of contemporary fine artists whohave engaged with Shakespeare on any levelPerhaps Shakespeare as a subject is seen

by some as too traditional too lsquopopularrsquoor simply just too lsquooldrsquo But in the theatreand in literature there is an ever-increasingenthusiasm for innovative interpretationsof the plays and for me Shakespeare is aconstant inspiration

e Prologue of Henry V also urges theaudience to ldquoPiece out our imperfections withyour thoughtsrdquo to liberate the imaginationand create another kind of reality to shapeour own fantasies within the ldquowooden Ordquo of

the theatre In my paintings I endeavour todo the same

Explore the work of Rosalind Lyons atwwwrosalindlyonscom

Above These Two CreaturesBelow Therersquos Magic In Thy Majesty

Roaslind Lyons

32 SHAKESPEARE magazine

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$amp( ) +-01

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Aidan OrsquoReilly

34 SHAKESPEARE magazine

Looking forRichard AidanOrsquoReilly is playingShakespearersquosbaddest monarch

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Aidan OrsquoReilly

SHAKESPEARE magazine 35

You are legally blind having been

diagnosed with retinoblastoma as an

infant How did this impact on your

acting aspirations and early career

ldquoMy parents did a good job raising me Inever grew up thinking of it as a handicap orthinking it could hold me back from what I wanted to do I couldnrsquot play sports at all soI think my parents were grateful that I hadsomething that I was passionate about from avery young age

ldquoI went to a public elementary school with a program designed for the blind so itfelt very natural for me to be the way that I was And acting has always been part of thatrdquo

You went to RADA in London Was

there a reason why you wanted to

train in England and not in the US

ldquoItrsquos always been an ambition of mine to

travel as far and wide as possible Also myhero growing up was Peter OrsquoToole ndash Iread his autobiography in high school andlearned he had gone to RADA and decided I wanted to go there too So I auditioned therenot knowing that RADA is arguably thebest drama school in the English-speaking world Consequently I was quite relaxed atthe audition which is probably why I gotin My ignorance can sometimes serve me well Going to RADA was a life-changing

Aidan OrsquoReilly is an actor with an

inspiring story Legally blind since he

was six months old he forged a passionfor drama at an early age Aidan went

on to gain a BA with honours from

Londonrsquos Royal Academy of Dramatic

Art before touring for three years with

the American Shakespeare Center

In 2012 Aidan was diagnosed with

sarcoma a rare cancer He bounced

back in 2014 after intensive treatment

and is now cancer-free We spoke to

Aidan as he prepared to play the title

role in Richard III for Californiarsquos Marin

Shakespeare Company We asked himto share his story and to give us his

take on one of Shakespearersquos most

fascinating characters

Interview by Jen Richardson

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Aidan OrsquoReilly

36 SHAKESPEARE magazine

experience I was lucky enough to havecontact with brilliant professors and Irsquom stillin awe of the students I went to school withI wouldnrsquot trade that experience for anythingrdquo After graduating from RADA you

went on the road with the American

Shakespeare Center Tell us a bit

about that

ldquoThat was one of the happiest times of mylife In many ways I got spoiled I was a working actor 11 months out of the yeartouring nationally seeing parts of the USI had never been to before doing plays Iloved and working with directors who werevehemently faithful and respectful to the text When I wasnrsquot on the road I was in residenceat the Blackfriars Playhouse in StauntonVirginia with many extraordinary actorsI was very lucky to be thererdquo

Three years ago you were diagnosed

with sarcoma How did you

overcome this enormous challenge

and return to the stage in 2014

ldquoThe only reason Irsquom still alive is because ofmy mother Lily and my wife Jocelynn AlsoI was fortunate that we caught it before it hadspread and it was on my leg and away fromany major organs

ldquoI am very grateful for my team of doctorsat UCSF who did an incredible job in mytreatment and follow-up care Irsquom glad to beback to workrdquo Yoursquore now due to play Richard III

with Marin Shakespeare Company

Howrsquos it going so far

ldquoAt this point Irsquom in the paperwork stage

of things A lot of reading the HenryVI s biographies of Richard as well asperformance history of the play itself Irsquomdoing a fair amount of limping around myapartment as well I canrsquot wait to get intorehearsals next weekrdquo Tell us about Marin Shakespeare

Company and what appealed to you

about working with them

ldquoRobert and Lesley [Currier MSCrsquos Artistic

Director and Managing Director] arefascinating people Their intelligence andhumour is contagious Without questionthere is a lot to be learned from themrdquo Richard IIIrsquos remains were discovered

in 2012 and reburied this year Is all

the new information about Richard

influencing your portrayal

ldquoYes and no My job isnrsquot to play the historicalRichard but the Richard that Shakespeare has

Aidan believesthat Richard IIIrsquosobsession withcontrol is whatcauses his downfall

ldquoPeter OrsquoToole wasmy hero He went to

RADA so I wanted to go there toordquo

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Crowning gloryAidan with MarinShakespearersquosRobert Currier

created Itrsquos helpful to know the facts of thesituation in order to gain insight into whathas been changed in Shakespearersquos versionof events

ldquoI met with a friend of mine who is a

retired surgeon who walked me through themedical information that has come to lighton Richardrsquos body and I will certainly usethat to inform my physical choicesrdquo Unlike many actors yoursquore the right

age to play the historical Richard III

Do you feel Richardrsquos relative youth

has been overlooked

ldquoI do Richard is a young man who believeshe is hardened by the experiences he andhis family endured during the War of theRoses and believes himself to be beyondhuman emotions and the lsquorestrictionsrsquo of aconscience He isnrsquot He pays the bill for thehorrible things he does That lack of self-knowledge is not exclusive to youth but I feelit makes him more sympathetic and relatableto an audiencerdquo Some people think Richard III shows

Shakespeare delivering a highly

effective piece of Tudor propaganda

Where do you stand on thatldquoI think Shakespeare has a soft spot foroutsiders and underdogs Although his playssometimes work within the confines of thebiases of Elizabethan society he canrsquot help butmake his lsquovillainsrsquo fascinating human beings

For as horrible as Richard is itrsquos amazing tosee how audiences relate and respond to himrdquo Which other important themes do

you feel Shakespeare deals with in

the playldquoThe history plays are full of extraordinarypeople who waste their lives and intelligence who sacrifice their humanity in pursuit of thecrown Itrsquos still happening today What is theattraction of power Richard never pauses tothink of why he wants the crown or if hersquodbe any good as king Turns out hersquos not butitrsquos this bizarre obsession with control thatpropels him to kill everyone off thatrsquos in his way Itrsquos also fascinating that the one characterthat is consistently kind to Richard is hisfather York

ldquoI think an argument can be made thatRichard in his warped way is trying to liveup to the image he has of his father Ofcourse York is dead and gone by the timeRichard III begins but you can glean a lotabout Richardrsquos inner workings in the way hespeaks about his father Of course itrsquos foolishto try to answer questions that Shakespearedoesnrsquot and Irsquom not trying to say this solvesa mystery but I think itrsquos interesting Itrsquos only

an element itrsquos not the answerrdquo Richard III is listed as a historical

play in the First Folio but in the

quarto edition it is termed a tragedy

Which category would you put the

play in and why

ldquoI think of the history plays from Richard II to Richard III as one vast play an epic thatencompasses all the categories I think if youlook at Richardrsquos progression through those

plays you see a great mind warped by the War of the Roses and that certainly adds tothe tragic element I think of Richard III asthe final chapter of a great epicrdquo

Aidan OrsquoReilly stars in Marin ShakespeareCompanyrsquos Richard III from 4-27 September

Aidan OrsquoReilly

SHAKESPEARE magazine 37

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Scotland Shakes

SHAKESPEARE magazine 39

Bonnie Prince

Brian Fergusonas Hamlet in theCitizens Theatre

production Photoby Tim Morozzo

Billy William Shakespeare is undoubtedly Englandrsquos

Bard But how is he viewed north of the border

Our Caledonian correspondent surveys the state

of Shakespeare in Scotland and meets esteemed

outdoor theatre company Bard in the Botanics

Words Paul F Cockburn

T owards the end of May thisyear a BBC Scotland afternoon

news bulletin surprisinglyturned its attention to aforthcoming production of

ldquoone of William Shakespearersquos best lovedplaysrdquo ndash A Midsummer Nightrsquos DreamHowever this particular production wasnrsquotconsidered newsworthy because it came froman amateur group based in Dumfries andGalloway Not even that the CrossmichaelDrama Club were one of just seven amateurScottish groups taking part in the Royal

Shakespeare Companyrsquos Open Stages project which aims to help amateur companies

extend their repertoiresNo the lsquohookrsquo was how this newproduction was Shakespeare ldquobut no asyou micht ken itrdquo Because it had beenreimagined in Scots as A MidsimmerNichtrsquos Dreme

As it happens writer John Burns saysthat his principle reason for translating AMidsimmer Nichtrsquos Dreme was simply theintuition that it being in Scots would workto the benefit of the production ldquoItrsquos not

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Scotland Shakes

40 SHAKESPEARE magazine

so much that 16th century English canrsquot docertain things more that using Scots brings itcloser to a Scottish audience and to audiences who might think Shakespeare too fancyrdquo hesays ldquoI feel too that Scots can catch the sheerphysical power of Shakespearersquos language He writes lines you really feel physically when

you say them out loud My intention was touse Scots to produce a text that was actableand which would be accessible and enjoyablefor the audience and the Scots was a majorpart of thatrdquo

Arguably translating Shakespeare intoScots ndash viewed by many as a distinct languagefrom English ndash is just one way of finding thecontinued relevancies of Shakespearersquos writing with the here and now Certainly John Burns was keen to see if Scots ldquocould match the way

Shakespeare switches tonehellip from broad attimes bawdy humour to moments that aremore serious or even sinisterrdquo

Yet there is a wider perspective whether wersquore discussing translation into Scots orsaying Shakespearersquos words with a Scottishaccent Willy Maley and Andrew Murphyin their introduction to Shakespeare andScotland (published by Manchester UniversityPress in 2004) go as far as describing thetranslation of Shakespearersquos Macbeth into

Scots as ldquoa patriotic actrdquo not least becauseof ldquothe political commitment implicit intranslating from English to Scots reversing

the dominant dubbing practice infi

lmsrdquoGlasgow-based novelist and playwright Alan Bissett ndash who actively campaigned fora Yes vote during last yearrsquos IndependenceReferendum ndash has since written about howsince the 1970s Scottish theatre had ldquoadeep engagement with the shifting beastof Scottish politicsrdquo Although Bissett wasfocusing primarily on original works byScottish playwrights and directors itrsquos worthpointing out that Shakespeare ndash despite therebeing absolutely no evidence to prove he evertravelled north of Carlisle ndash has played hisown part in this

As Maley and Murphy point outldquoScotlandhellip never had precisely the samerelationship with the Bard as England hasbut has experienced a fraught process ofappropriation incorporation and resistancerdquoIn part this is because Shakespeare ndash in hislatter career ndash was among the first lsquoBritishrsquo writers Many of his later plays ndash Cymbeline King Lear even Hamlet ndash were produced

A tartan-cladAntipholus andDromio in Bard inthe Botanicsrsquo TheComedy of Errors

Brian FergusonrsquosHamlet CitizensTheatre productionPhoto by TimMorozzo

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under the patronage of Scotlandrsquos King JamesVI (aka James I of England) Each in theirown way can be said to touch on ldquothe matterof Britainrdquo the complex relationship between

the constituent elements of Jamesrsquos newlsquounitedrsquo kingdom which the Stuart monarch was determined to see joined into oneat never quite happened of course

Even after the 1707 Act of UnionScotland retained its own legal educationaland religious systems along with anaccompanying sense of Scottish identity ndash which survived even the height of the Britishempire Yet from the 1970s on there havebeen notable changes in how Shakespeareis treated by Scotlandrsquos producing theatrecompanies Several years ago GlasgowrsquosCitizenseatre delivered a powerful Romeoand Juliet in part because of their decision toset the action in a present-day sectarian Westof Scotland ndash with accents to match

ldquoEnglish-accented Shakespeare carriesa specific resonance in Scotland one thatdirectors usually choose to avoidrdquo pointsout Mark Fisher a freelance journalist criticand author of the forthcoming book How toWrite Abouteatre

ldquoIrsquom not sure exactly when attitudesstarted to change but Irsquod say the argumentin favour of Scottish-accented productionshad been pretty much won by the 1990sBy that time companies such as Raindogand directors such as Hamish Glen hadbeen making a point of casting very Scottishproductions of Shakespearerdquo

One example of how things hadprogressed even by 1992 was the late KennyIrelandrsquos production of A Midsummer

Nightrsquos Dream his first as Artistic Directorat Edinburghrsquos Royal Lyceum ldquoHe castthe mechanicals with Scottish accents andeveryone else with English accentsrdquo MarkFisher explains ldquois I said in my review wasa fundamental error ndash or some such phrasee message it sent out was that people withScottish accents were foolish figures of fun whereas people with English accents wereserious figures of respect

ldquoIreland reacted furiously to my review

and made the case that he had based thecasting of the mechanicals around (the actor) Andy Gray who has a Scottish accent Inother words the meaning I inferred hadnot been deliberate I think itrsquos true to sayhowever that Ireland never cast a Shakespearelike that againrdquo

Gordon Barr is Artistic Director of

Glasgow-based Bard in the BotanicsScotlandrsquos only professional Shakespearecompany (see following pages)

ldquoWersquove never gone out of our way tomake Scottish versions of these texts norhave we gone out of our way to have classicaltraditional voicesrdquo he says ldquoMost of our coreactors have made their careers up here so wethink of them as Scottish actors

ldquoat is important to us to not overlylook outwards for the acting company As

much as possible we work with people who are based in Scotland Wersquore regularlyproducing Shakespeare here and we want tobe a part of the training to ensure that there isa range of strong classical actors hererdquo

Citizens Theatrewwwcitzcouk

Owen Whitehawas the Fool andDavid Hayman asLear in CitizensTheatrersquos King Lear Photo by TimMorozzo

Scotland Shakes

SHAKESPEARE magazine 41

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Bard in theBotanicsrsquo As You Like

It takes Rosalind andOrlando into theopen air

ldquoTouring is something that we have wanted to do foryears but was somethingthat we could not afford

to do without fundingrdquo says Gordon Barr Artistic Director of Scotlandrsquos only professionaloutdoor Shakespeare festival Bard in theBotanics If therersquos any irony attached tothe companyrsquos first major tour of Scotland which took place in early 2015 itrsquos that theperformances of their acclaimed Romeo and Juliet ndash featuring a cast of five ndash were playedexclusively indoors

ldquoNobody is touring classical theatre in

Scotland at the minute so itrsquos importantto usrdquo Barr adds ldquoOur work is so muchabout accessibility One of the joys of beingoutdoors is that people come to see the work who wouldnrsquot buy a ticket for a theatre Ifyou can bring a picnic sit out on the grass while watching the show it feels easier moreaccessible But people canrsquot come from Thursoto Glasgow for a night just to see a productionof Shakespeare They should be able to see itin Thurso So that is kind of where the urge totour came fromrdquo

Bard in the Botanics has presented outdoorShakespeare within the grounds of GlasgowrsquosBotanic Gardens since 2003 This yearrsquoslsquoUnlikely Wondersrsquo season presented newproductions of Loversquos Labourrsquos Lost The Merchant of Venice Richard II and A Midsummer Nightrsquos Dream in lsquoreprsquo between24 June and 1 August

The companyrsquos founder Scott PalmerBarr explains had done a lot of his training atthe Oregon Shakespeare Festival one of the

biggest in North America ldquoWith the kindof drive and enthusiasm that only Americanshave he managed to convince the entire cityof Glasgow that outdoor Shakespeare would work and that the weather wasnrsquot going to be

a problemrdquoTwo years later Palmer moved on and Barr

ndash originally involved as a director ndash succeededhim as Artistic Director ldquoIf anyone then hadsaid that I would end up spending 12 yearsrunning an outdoor Shakespeare festival I wouldnrsquot have believed themrdquo he says in hisoffice hidden behind some of the Botanicsrsquogardening sheds ldquoI very quickly fell in love with it once I started working here Despiteall the trials and tribulations that outdoortheatre in Scotland brings with it therersquos just

something magical and special about it Itrsquos a very close-knit company and thatrsquos sort of keptus all here as long as we have beenrdquo

While the annual summer season ofShakespeare plays in the Botanics will remainat the centre of what the company does ndashldquoOtherwise Bard in the Botanics becomesa rather strange namerdquo ndash Barr is very much

Outof theGarden

This year has seen Glasgowrsquos Bard in the Botanicsdo something completely unexpected They wentout on a tour of ndash whisper it ndash indoor venueshellip

Scotland Shakes

42 SHAKESPEARE magazine

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Scotland Shakes

SHAKESPEARE magazine 43

focused on building on the touring side ldquoBecause it was our first ever tour we

did end up taking Romeo and Juliet to theestablished Scottish touring circuitrdquo he addsldquoIt takes a while to build up relationships with the smaller venues thatrsquos going to bean ongoing process for us Even so we weretaking Romeo and Juliet to places like Mulland Stranraer ndash communities and venues thathavenrsquot had a lot of classical theatre comingthrough themrdquo

The choice of play was deliberate too ldquoIt was a production that was ready to go whichhad received five star reviews and sold out itsextended run in the Botanics in 2012 So weknew that the work was good but therersquos nodoubt that for a first tour we wanted to makeit easier for the venues to sell it Most venuesknow they can find an audience for Romeo and Juliet rdquo

In time he hopes that audiences aroundthe rest of Scotland will come to trust the Bardin the Botanics name sufficiently to take on theless familiar plays

ldquoYou just donrsquot know how quickly acommunity is going to turn out for Henry IV yetrdquo he says ldquoHopefully three or four toursdown the line theyrsquore going to turn out forBard in the Botanics ndash and if it happens to be

Henry IV well thatrsquos greatrdquoGiven their reimagining of A MidsummerNightrsquos Dream as a 1920s burlesque musicalis there a particular Bard in the Botanicsapproach to Shakespeare

ldquoOur kind of unofficial motto is lsquoBe BoldBe Braversquordquo Barr says ldquoIf wersquore continuingto stage these plays around 400 years afterShakespearersquos death I think therersquos an urgencyto ask lsquoWhyrsquo It is important to questionlsquoWhat is the story that we want to tellrsquo I wantto see how these plays intersect with historyand todayrsquos society not to present museumpieces

ldquoItrsquos always with an eye to try to releasesomething thatrsquos within the textrdquo Barrinsists ldquoWersquore not remotely interested ininnovation for innovationrsquos sake The playsare masterpieces thatrsquos essentially why wersquorestill doing them 400 years later But to revealsomething thatrsquos unexpected or new thatrsquosimportant to usrdquo

Bard in the Botanics

wwwbardinthebotanicscouk

Rosalind and Audreyin the forest Bardin the Botanicsrsquo As You Like It

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Shakespeare at the Tobacco Factory stf 2016 Seasonco-production with Tobacco Factory Theatres

HAMLETBy William Shakespeare

Directed by Andrew Hilton

Main run Thu 11 February ndash Sat 26 March 2016

In repertoire with Allrsquos Well That Ends WellMon 25 ndash Wed 27 April Sat 30 April 2016

The most famous play in world drama Hamlet

turns a new face to every decade So many

elements - political madness sex murder ndash all

brought together in a drama that is both a thriller

and the profoundest meditation on our human

condition

ldquoThrilling workrdquo The Guardian on Romeo amp Juliet

ldquoBullseyerdquo WhatsOnStage on Romeo amp Juliet

Shakespeare at the Tobacco Factory Friends Priority Booking opens Wed 23 September 10am

wwwstf-theatreorguk

Tobacco Factory Theatres Members Priority Booking opens Wed 16 September 10am

wwwtobaccofactorytheatrescom

Public Booking opens Wed 30 September 10am

Tobacco Factory Box Office 0117 902 0344

ALLrsquoS WELL THAT ENDS WELLBy William Shakespeare

Directed by Andrew Hilton

Main run Thu 31 March ndash Sat 23 April 2016

In repertoire with Hamlet

Thu 28 ndash Fri 29 April Sat 30 April

A young woman using skills bequeathed herby her father saves the French Kingrsquos life and

is rewarded with the right to choose her own

husband But what if the chosen one wonrsquot play

the game How can she get him into bed How

can she make him love her

ldquo There is something approaching real

magic hererdquo The Arts Desk on The School for Scandal

P h o t o s M

a r k D o u e t

Dorothea MyerBennett in Richard III

Benjamin Whitrowand Julia Hills in The

School For Scandal

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Having conquered

Hollywood and vanquished

the global entertainment

industry video games now

on our culture So where

does the Bard stand in all of

this We sent a Shakespeare

scholar to investigatehellip

Words Andrew Bretz

Shakespeare video games

46 SHAKESPEARE magazine

T eGamersquos A oot Silent Hill is one

big-name gamewhich includesShakespearereferences

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Shakespeare video games

SHAKESPEARE magazine 47

German cardboard Macbeth datingfrom the early1800s

Hamlet reimaginedRyan Northrsquos To Be

Or Not To Be

W

hen you walk intothe wood panelled Victorian Gothicismof the Gail Kern Paster

Reading Room at theFolger Shakespeare Library in WashingtonDC video games are probably the lastthing on your mind Buried deep withinthe archives however are a set of fragilecardboard figures printed in Germany in theearly 1800s representing each of the maincharacters of Macbeth

Nineteenth century German children would play with these figures on smallcardboard stages no bigger than a dollhouseey could replicate the story as it was toldin Shakespeare or use their imagination tochange the ending letting Lady Macbethsurvive and bringing Duncan back from thedead if they so chosee limits of the game were the limits of their imagination

Today the lsquogamificationrsquo of Shakespeareis a big business from Ryan Northrsquos choose-your-own-adventure edition of Hamlet To Be Or Not To Be to IDW Gamesrsquosupcoming Kill Shakespeare board gamebased on the comic of the same name

Gamifying Shakespeare is filtering intoschools libraries and the theatrical worldas well with the University of California atDavis the Stratford Festival in Ontario theGlobeeatre in London and the LondonMetropolitan Archives all experimenting with video game elements in exhibits productionsand research

Why video games In a sense this is thelogical next step in the media development ofShakespeare Hersquos everywhere in other media

books movies merchandise But videogamese answer for that depends on whoyou ask

StorytellingOccasionally individuals or publishinghouses develop video games that try to tellthe story of say Hamlet yet this is relativelyrare One example would be Elsinore a time-looping narrative adventure game set in the world of the play Players play the game as

Ophelia who wakes up knowing that in fourdays the entire court will be dead and shemust do something to stop ite problemis that she is stuck in a time loop reliving thesame four days over and over againat said Shakespearersquos presence in the

video game industry tends to be focused oncitation rather than adaptation of the playsat is video games for Xbox Playstationand other popular gaming systems often

just cite Shakespearersquos plays as a part of acommon cultural heritageese games donrsquotrestage say Hamlet but they quote the playIn these cases Shakespeare is used to establisha point of identification for the audience His writing tells the audience something aboutthe character or the situation

Given that audiences are supposedto be able to identify the quotations asShakespearean it is unsurprising that Hamlet is the most popular text for game designers to

cite Ine Elder Scrolls Online for instancea merchant NPC (non-player character)quotes Polonius when players interact sayingldquoNeither a borrower nor a lender berdquoe words establish the NPCrsquos role as a merchant while fitting the medieval world of thegame In the game LA Noire upon pickingup a fake shrunken head at a crime scene adetective leaps into high melodrama withldquoAlas poor Yorick I knew him Horatiordquoequotation and the clever voice acting establish

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Shakespeare video games

48 SHAKESPEARE magazine

the characterrsquos strait-laced yet macabre senseof humour

Sometimes citing Shakespeare is a partof a critique of a larger theme In the game Mass E ff ect the Elcor are a race of elephantinealiens who preface all statements with adescription of the emotion they are feelingand who speak in a slow monotonous drone As players interact with the expansive worldthey can discover a number of advertisementsfor an all-Elcor Hamlet e idea of theElcor actor ndash the ultimate in a flat woodenperformer ndash having to preface ldquoTo be or not

to berdquo with ldquomorose ruminationrdquo goes beyondthe simple humour of a bad Shakespeareperformance It subtly asks what it is aboutacting (and especially voice acting) that isvaluable

Shakespeare can appear in video gamesnot merely as a marker or contextualisationtool but as a part of a puzzle For example inthe game Silent Hill 3 players must arrange aset of Shakespeare anthologies on a bookshelfin an abandoned shopping mall in order to

proceed in the game At the hardest levelthe puzzle clue takes the form of a poemthat references all the major tragedies Romeoand Juliet King Lear Macbeth Othello andof course Hamlet e bloody nature of thetragedies fits with the bloody nature of theSilent Hill series of games which fall into thesurvival horror genre

Popular video games have also servedas the inspiration for games that engage with Shakespeare in a more direct way For

example Daniel Fischlin at the Universityof Guelph in Ontario Canada led a teamthat created a Flash game called rsquoSpeare Itrsquos

a scrolling arcade-style game suggesting thersquo80s hit Galaga which sees players identifyingand navigating through a series of enemies who turn into words upon being destroyede player progresses through the levelsby collecting the correct words to createShakespearean quotes learning Shakespeareantrivia along the way

ImmersionOne of the most exciting aspects of videogames is the ability to immerse the player inthe world of the game in a way that othermedia simply cannot do Being able to walkaround Prosperorsquos cell Julietrsquos balcony orto stand before the ghost of Hamletrsquos fatheras he cries out ldquoList list O listrdquo ndash theseexperiences are made possible through videogame technology

Students of Scenic Arts at the Universityof Hildesheim in Germany created Projekt ARIEL or SturmMOD in 2008 using a lsquomodrsquo(or modification) to the engine that runs

the game Far Cry 1 e performance artproject allowed users to experience Prosperorsquosisland interacting with certain parts andexploring others Players could walk aroundan imaginative rendition of Prosperorsquos cell and witness or interact with elements of the playincluding diff erent characters like CalibanProspero and Miranda

Four days to savethe Danish court

Elsinore

Another Hamlet reference this timein LA Noire

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Shakespeare video games

SHAKESPEARE magazine 49

Gina Bloom at the University of Californiaat Davis is presently spearheading a projectthat will be demonstrated in the lobby of theStratford Festival theatre in Ontario Canadathis summere project Play the Knave AShakespeare Performance Videogame lets usersdesign a virtual performance space and thenperform a scene from a Shakespeare playinhabiting this constructed space with anavatar As a Davis insider explains ldquoWe use akinect motion capture camera to capture theuserrsquos skeletal data so that players use theirentire bodies to control their avatarrsquos gesturesonscreen all the while reciting the lines from

Shakespearersquos scenerdquo is literally immersesthe players in the scene

Shakespearersquos Globe eatre in Londontook another tactic regarding immersionin the production of the game HemmingsrsquoPlay Company Hosted on the Playgroundportion of the Globersquos website and thusaimed at an audience of children the gamehas players taking on the role of Hemmingsan Elizabethan bear who leads a troupe oftheatrical animals such as Kit the Cat Dekker

the Dog and Slye the Foxe turn-based game leads players through

the vagaries of Elizabethan theatre practicefrom patronage to lost props and the plagueBy the end of the game players must earnenough money to rebuild the Globe after itburns down during a performance of HenryVIII

Also from Shakespearersquos Globe are twoinnovative video experiences created forchildren aged five to 11 e first Exploring

Shakespeare features two boys on a tour ofthe Globe theatre who sneak off to explorebackstage e video illustrates four plays

using short animations that are keyedto things the boys find backstage etechnology combines live action film andanimation to create an interactive touchablegame Filled with mini-games quizzes andinteresting facts about Shakespeare the gameallows players to click through the narrativeor to stop and learn more as they go along

e second video called Staging It usesthe same technology as the first film but thistime is for the 11-16 age group In this gamee Globe has filmed two actors performingfamous duologues from A MidsummerNightrsquos Dream and Macbeth on the Globestage Rather than shoot it once the actorshave performed their lines in diff erent ways(happy flirtatious defensive and so on)creating several diff erent clips per linePlayers can watch each of the clips and addtheir choice to a dynamic storyboard tobuild up their final scene Impressively theplatform allows for up to 1000000 diff erentcombinations of clips

Apps and Mini-GamesItrsquos when you start to look outside of therealm of popular video game platformslike Xbox or Playstation that Shakespeare

Silent Hill 3 Brush upyour Shakespeare ifyou want to survive

Hemmingsrsquo PlayCompany fromShakespearersquosGlobe

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Shakespeare video games

50 SHAKESPEARE magazine

really starts to pop up wherever you looke ubiquity of Shakespeare is especiallynoticeable when you start to look at apps andmini-games designed for phones and tablets

In 2012 Big Fish Games released aniPhone and iPad game called Hamlet that featured all the main characters ofShakespearersquos play but transposed them intoa save-the-princess narrative puzzle game A time traveller lands in Denmark andaccidentally kills Hamlet and so players mustcomplete his journey for him saving Opheliaand killing Claudiuse Shakespeareancontent is minimal and heavily adapted andyet it fits with the puzzle format in whichShakespeare tends to be found in videogamese Chronicles of Shakespeare Romeo amp

Juliet ande Chronicles of Shakespeare A Midsummer Nightrsquos Dream are lusciously-illustrated puzzle games for the PC In themplayers act as one of the characters from theplays gathering items and clues through aShakespearean environment

Among the literally thousands of appsrelated to Shakespeare that can be found forthe iPad or Android tablet are

e Shakespearean Insult Creator which generates invectives drawn from a wholly Shakespearean vocabulary So nexttime you want to call someone a jerk trysomething more like ldquoou fusty follyfallenfustilarianrdquo

e Shakespeare Translator whichtranslates ldquonormal English words and phrasesinto the words of Shakespeare himselfrdquo

e Shakespeare Fortune Cookie which provides short quotes from the plays

and a small trivia game Shakespeare or Die a game that

scrambles the words of famous quotationsfrom the plays and asks you to identify theplay and character who spoke the line If youmake a mistake however beware the witchesese apps are either explicitly games or

they are coming out of a game-like impulse tomake Shakespeare more accessible to everyone with an internet connection

Brave New WorldsIn a world where Shakespeare is an industrycounted in the millions of dollars per yearit is so easy to forget that Shakespearersquos playsare just that ndash playsere is a sense of joyand fun and happiness embedded in theexperience of watching them Games are oneof the ways that people over the centuries

have tried to recapture that elusive sense ofplayfulness within Shakespeare So it makesperfect sense that now with the advent ofdigital technologies Shakespeare is movinginto the digital world with a vengeance

From big studio games likee ElderScrolls to small apps that can be downloadedfor free from talking bears to immersiveperformance experiences Shakespeare iseverywhere in video games Rather than beingan undiscovered country into which the Bard

is only just beginning to emerge games havein fact engaged with Shakespeare and his works for hundreds of years And they willprobably continue to do so for hundreds ofyears to come

rsquoSpeare is a scrollingarcade-stylegame with addedShakespeare trivia

Hamlet is aShakespeare-themed puzzle fromBig Fish Games

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Meet thy makers

Helen Mears fell into bardolatryduring her teenage years and has

never recovered She is a volunteersteward at Shakespearersquos Globe

which ensures a regular diet of theBard She teaches English Film andMedia at Suffolk New College and isa specialist in teaching Shakespeareusing active methods Her favouriteShakespearean actor is Jamie Parker

and her favourite plays are the SecondHistory Tetralogy She hopes to

finish her Masters in the AdvancedTeaching of Shakespeare very soonFind her on Twitter hipster_hels

Paul F Cockburn is an Edinburgh-based freelance magazine journalist who specialises in writing about

arts and culture equality issues andpopular science Hersquos sufficiently

grey-haired for his English Literaturetraining to have sort of overlapped

with The BBC Television Shakespeareproject saving at least some of the

plays from death by academiaFind him on Twitter paulfcockburn

Jen Richardson first fell in love withShakespeare as a 15-year-old schoolgirl

ldquoHe got under my skin and hersquos still theretodayrdquo After training with a Manchester-based drama tutor she went on to pursuean acting career Drama remains a greatinterest but her focus is now on sharing

her passion for Shakespeare throughher writing In her spare time Jen is

generally down in Stratford-upon-Avonsitting on her favourite bench behind

Holy Trinity ChurchFind her on Twitter The_JenJen

Andrew Bretz is a sessional instructorof English Literature and Drama

specialising in early modern dramaHe has taught at Wilfrid LaurierUniversity the University of Guelph

Brock University and McMasterUniversity For the past two years he

has taught a special summer intensiveat Ontariorsquos Stratford Festival His PhDdissertation was on the representationof sexual violence on the early modern

stage Find him on TwitterAndrewBretz001

Just some of the contributors to this issue of Shakespeare Magazine

Rosalind Lyons is a painter whohas exhibited widely in both mixedand solo shows with work in UK

and international private collections A life-long love of Shakespeare isreflected in many of her paintings

and a particular recent focus isShakespearersquos Globe theatre where shespent a period as artist-in-residenceShe is currently studying for a PhD

in Painting and ShakespeareanTheatre at Anglia Ruskin University

in CambridgeFind her on Twitter roslyons

52 SHAKESPEARE magazine

Contributors

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Page 26: Shakespeare Magazine 08

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Planning to performa short selection

from Shakespeare

The 30-Minute Shakespeare

Anthology contains 18 abridged

scenes including monologues from

18 of Shakespearersquos best-known plays

Every scene features interpretive stage

directions and detailed performance

and monologue notes all ldquoroad testedrdquo

at the Folger Shakespeare Libraryrsquos

annual Student Shakespeare Festival

THE 30-MINUTE SHAKESPEARE is an acclaimed series of abridgments that tell the story of each play while keeping the beauty ofShakespearersquos language intacte scenes and monologues in this anthology have been selected with both teachers and students inmind providing a complete toolkit for an unforgettable performance audition or competition

NICK NEWLIN has performed a comedy and variety act for international audiences for more than 30 years Since 1996 he hasconducted an annual teaching artist residency with the Folger Shakespeare Library in Washington DC

The 30-Minute Shakespeare series is available in print and ebook format at retailersand as downloadable PDFs from 30MinuteShakespearecom

The 30-Minute Shakespeare Anthology

includes one scene with monologue

from each of these plays

ldquoLays the groundwork for a truly fun and sometimes magical

experience guided by a sagacious knowledgeable and intuitive

educator Newlin is a staunch advocate for students learning

Shakespeare through performancerdquo mdashLibrary Journal

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Roaslind Lyons

28 SHAKESPEARE magazine

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For UK artist Rosalind Lyons the Bard is a

constant presence in her creative life She tells

us how Shakespeare inspired the haunting and

dreamlike works that adorn these pages

Words and paintings by Rosalind Lyons

Rosalind Lyons

SHAKESPEARE magazine 29

Left TheRoaring Boys

PAINTINGSHAKESPEARE

S hakespeare has long been at the heart ofmy work sometimes directly and obviouslyin the subjects and often in the titlesBut always Shakespearersquos words charactersand stories are there in my head when Iam painting ndash a perpetual conscious andunconscious presence

My style echoes that of the Renaissancepainters and Elizabethan portraits andthese influences combined with a life-long love of Shakespeare made my firstvisit to Shakespearersquos Globe pivotal Iexperienced a powerful sense of connectionand recognition Here suddenly ideasand themes with which I had been so longpreoccupied were brought to life

I subsequently gained access to theGlobe to draw and later spent some time

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as Artist in Residence thereat experienceprompted more in-depth exploration notonly of Shakespeare and painting but of therelationship between painting and theatreere are of course the strong visualconnections ndash both are spaces for spectacleand illusion But also compelling ideas oftransformation imagination storytelling andidentity And overall the theme of ambiguitye blurring of boundaries between realityand fiction male and female light andshadow past and present I am fascinated byhow we respond to history how we re-presentand re-imagine the past And the figures inmy paintings are imagined as belonging toboth now and then ndash flitting back and forthacross the threshold between past and presentbetween Shakespearersquos time and our own

modern worldI have painted some specific characters

from Shakespeare but many subjects ofmy paintings are anonymouse figuresare unknown their place purpose role is amysteryis anonymity is unsettlingereare clues in the setting in the costumes ndash orperhaps I should just say in the clothes theyare wearing ndash but the context is not obviousI am fascinated by the dramatic convention ofcross-dressing ndash and particularly the inherent

confusion as with Rosalind ( As You Like It )and Viola (Twelfth Night ) in the idea of aboy playing a girl playing a boy Many of thecharacters I invent are androgynous theirgender and age uncertainis ambiguityof identity interests me in the context ofvisual illusion and theatrical transformationthe idea of inbetween-ness and somethingunresolved

Like theatre my paintings are concerned with inventing characters and the creation

Right No MoreYielding But A

Dream

Roaslind Lyons

30 SHAKESPEARE magazine

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of an imaginary world and I am particularlyattracted to the fools fairies and witchesIn A Midsummer Nightrsquos Dream the fairiesrsquoactions may seem malevolent or benign or just mischievous but there is definitely a dark

side an underlying sense of threate Fool too is intriguing Shakespearersquosfools frequently describe themselvesor are referred to as a nobody but areunquestionably much moree fool is anoutsider concerned with but at the same timeseparate from the story He ndash or sometimesshe ndash doesnrsquot quite belong anywhere butseems to exist on the boundary between thefamiliar and the uncanny

I am attracted to the strange to mysteryand shadows and try to express through myimages a strong feeling that it could be thator maybe something else As Orsino says atthe conclusion of Twelfth Night ldquoA naturalperspective that is and is notrdquo While makinga painting and even when it is finished Idonrsquot know really who my characters are ndashthey remain elusive But I like not knowingand ultimately meanings always change anddepend on individual perceptions

My experience at the Globe led to aparticular fascination with the ambiguous and

protean quality of the theatrical performerhow their identity transforms and fluctuatesI was attracted by this when watching

Rosalind Lyons

SHAKESPEARE magazine 31

Above A MidwinterNightrsquos Dream

Right Three Fools

Far right FollowingDarkness

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rehearsals observing actors shift between selfand impersonation between diff erent realitiesand identities When they are not acting theyndash metaphorically and often literally ndash melt

into the shadows I am interested too in thephysical and symbolic threshold between lsquoonrsquoand lsquooff rsquo-stage the transformation inherentin an actor moving from the wings onto thestage assuming another self and anotheridentity Particularly evocative is the fact thatactors were colloquially known as shadowsin the Elizabethan playhouses ndash suggestingsomething unknowable and insubstantialIn the Prologue to Henry V Shakespeare hasthe Chorus describe the players as lsquociphersrsquoimplying deception and secrecy

Artists in the past who have tackledShakespeare have generally produced imagesthat directly illustrate the text or representfamous actors or scenes from a particularperformance Today as well as on the stageShakespearersquos plays are frequently re-imaginedin very successful film and TV adaptationsbut I have struggled to find more than ahandful of contemporary fine artists whohave engaged with Shakespeare on any levelPerhaps Shakespeare as a subject is seen

by some as too traditional too lsquopopularrsquoor simply just too lsquooldrsquo But in the theatreand in literature there is an ever-increasingenthusiasm for innovative interpretationsof the plays and for me Shakespeare is aconstant inspiration

e Prologue of Henry V also urges theaudience to ldquoPiece out our imperfections withyour thoughtsrdquo to liberate the imaginationand create another kind of reality to shapeour own fantasies within the ldquowooden Ordquo of

the theatre In my paintings I endeavour todo the same

Explore the work of Rosalind Lyons atwwwrosalindlyonscom

Above These Two CreaturesBelow Therersquos Magic In Thy Majesty

Roaslind Lyons

32 SHAKESPEARE magazine

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$amp( ) +-01

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Aidan OrsquoReilly

34 SHAKESPEARE magazine

Looking forRichard AidanOrsquoReilly is playingShakespearersquosbaddest monarch

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Aidan OrsquoReilly

SHAKESPEARE magazine 35

You are legally blind having been

diagnosed with retinoblastoma as an

infant How did this impact on your

acting aspirations and early career

ldquoMy parents did a good job raising me Inever grew up thinking of it as a handicap orthinking it could hold me back from what I wanted to do I couldnrsquot play sports at all soI think my parents were grateful that I hadsomething that I was passionate about from avery young age

ldquoI went to a public elementary school with a program designed for the blind so itfelt very natural for me to be the way that I was And acting has always been part of thatrdquo

You went to RADA in London Was

there a reason why you wanted to

train in England and not in the US

ldquoItrsquos always been an ambition of mine to

travel as far and wide as possible Also myhero growing up was Peter OrsquoToole ndash Iread his autobiography in high school andlearned he had gone to RADA and decided I wanted to go there too So I auditioned therenot knowing that RADA is arguably thebest drama school in the English-speaking world Consequently I was quite relaxed atthe audition which is probably why I gotin My ignorance can sometimes serve me well Going to RADA was a life-changing

Aidan OrsquoReilly is an actor with an

inspiring story Legally blind since he

was six months old he forged a passionfor drama at an early age Aidan went

on to gain a BA with honours from

Londonrsquos Royal Academy of Dramatic

Art before touring for three years with

the American Shakespeare Center

In 2012 Aidan was diagnosed with

sarcoma a rare cancer He bounced

back in 2014 after intensive treatment

and is now cancer-free We spoke to

Aidan as he prepared to play the title

role in Richard III for Californiarsquos Marin

Shakespeare Company We asked himto share his story and to give us his

take on one of Shakespearersquos most

fascinating characters

Interview by Jen Richardson

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Aidan OrsquoReilly

36 SHAKESPEARE magazine

experience I was lucky enough to havecontact with brilliant professors and Irsquom stillin awe of the students I went to school withI wouldnrsquot trade that experience for anythingrdquo After graduating from RADA you

went on the road with the American

Shakespeare Center Tell us a bit

about that

ldquoThat was one of the happiest times of mylife In many ways I got spoiled I was a working actor 11 months out of the yeartouring nationally seeing parts of the USI had never been to before doing plays Iloved and working with directors who werevehemently faithful and respectful to the text When I wasnrsquot on the road I was in residenceat the Blackfriars Playhouse in StauntonVirginia with many extraordinary actorsI was very lucky to be thererdquo

Three years ago you were diagnosed

with sarcoma How did you

overcome this enormous challenge

and return to the stage in 2014

ldquoThe only reason Irsquom still alive is because ofmy mother Lily and my wife Jocelynn AlsoI was fortunate that we caught it before it hadspread and it was on my leg and away fromany major organs

ldquoI am very grateful for my team of doctorsat UCSF who did an incredible job in mytreatment and follow-up care Irsquom glad to beback to workrdquo Yoursquore now due to play Richard III

with Marin Shakespeare Company

Howrsquos it going so far

ldquoAt this point Irsquom in the paperwork stage

of things A lot of reading the HenryVI s biographies of Richard as well asperformance history of the play itself Irsquomdoing a fair amount of limping around myapartment as well I canrsquot wait to get intorehearsals next weekrdquo Tell us about Marin Shakespeare

Company and what appealed to you

about working with them

ldquoRobert and Lesley [Currier MSCrsquos Artistic

Director and Managing Director] arefascinating people Their intelligence andhumour is contagious Without questionthere is a lot to be learned from themrdquo Richard IIIrsquos remains were discovered

in 2012 and reburied this year Is all

the new information about Richard

influencing your portrayal

ldquoYes and no My job isnrsquot to play the historicalRichard but the Richard that Shakespeare has

Aidan believesthat Richard IIIrsquosobsession withcontrol is whatcauses his downfall

ldquoPeter OrsquoToole wasmy hero He went to

RADA so I wanted to go there toordquo

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Crowning gloryAidan with MarinShakespearersquosRobert Currier

created Itrsquos helpful to know the facts of thesituation in order to gain insight into whathas been changed in Shakespearersquos versionof events

ldquoI met with a friend of mine who is a

retired surgeon who walked me through themedical information that has come to lighton Richardrsquos body and I will certainly usethat to inform my physical choicesrdquo Unlike many actors yoursquore the right

age to play the historical Richard III

Do you feel Richardrsquos relative youth

has been overlooked

ldquoI do Richard is a young man who believeshe is hardened by the experiences he andhis family endured during the War of theRoses and believes himself to be beyondhuman emotions and the lsquorestrictionsrsquo of aconscience He isnrsquot He pays the bill for thehorrible things he does That lack of self-knowledge is not exclusive to youth but I feelit makes him more sympathetic and relatableto an audiencerdquo Some people think Richard III shows

Shakespeare delivering a highly

effective piece of Tudor propaganda

Where do you stand on thatldquoI think Shakespeare has a soft spot foroutsiders and underdogs Although his playssometimes work within the confines of thebiases of Elizabethan society he canrsquot help butmake his lsquovillainsrsquo fascinating human beings

For as horrible as Richard is itrsquos amazing tosee how audiences relate and respond to himrdquo Which other important themes do

you feel Shakespeare deals with in

the playldquoThe history plays are full of extraordinarypeople who waste their lives and intelligence who sacrifice their humanity in pursuit of thecrown Itrsquos still happening today What is theattraction of power Richard never pauses tothink of why he wants the crown or if hersquodbe any good as king Turns out hersquos not butitrsquos this bizarre obsession with control thatpropels him to kill everyone off thatrsquos in his way Itrsquos also fascinating that the one characterthat is consistently kind to Richard is hisfather York

ldquoI think an argument can be made thatRichard in his warped way is trying to liveup to the image he has of his father Ofcourse York is dead and gone by the timeRichard III begins but you can glean a lotabout Richardrsquos inner workings in the way hespeaks about his father Of course itrsquos foolishto try to answer questions that Shakespearedoesnrsquot and Irsquom not trying to say this solvesa mystery but I think itrsquos interesting Itrsquos only

an element itrsquos not the answerrdquo Richard III is listed as a historical

play in the First Folio but in the

quarto edition it is termed a tragedy

Which category would you put the

play in and why

ldquoI think of the history plays from Richard II to Richard III as one vast play an epic thatencompasses all the categories I think if youlook at Richardrsquos progression through those

plays you see a great mind warped by the War of the Roses and that certainly adds tothe tragic element I think of Richard III asthe final chapter of a great epicrdquo

Aidan OrsquoReilly stars in Marin ShakespeareCompanyrsquos Richard III from 4-27 September

Aidan OrsquoReilly

SHAKESPEARE magazine 37

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Scotland Shakes

SHAKESPEARE magazine 39

Bonnie Prince

Brian Fergusonas Hamlet in theCitizens Theatre

production Photoby Tim Morozzo

Billy William Shakespeare is undoubtedly Englandrsquos

Bard But how is he viewed north of the border

Our Caledonian correspondent surveys the state

of Shakespeare in Scotland and meets esteemed

outdoor theatre company Bard in the Botanics

Words Paul F Cockburn

T owards the end of May thisyear a BBC Scotland afternoon

news bulletin surprisinglyturned its attention to aforthcoming production of

ldquoone of William Shakespearersquos best lovedplaysrdquo ndash A Midsummer Nightrsquos DreamHowever this particular production wasnrsquotconsidered newsworthy because it came froman amateur group based in Dumfries andGalloway Not even that the CrossmichaelDrama Club were one of just seven amateurScottish groups taking part in the Royal

Shakespeare Companyrsquos Open Stages project which aims to help amateur companies

extend their repertoiresNo the lsquohookrsquo was how this newproduction was Shakespeare ldquobut no asyou micht ken itrdquo Because it had beenreimagined in Scots as A MidsimmerNichtrsquos Dreme

As it happens writer John Burns saysthat his principle reason for translating AMidsimmer Nichtrsquos Dreme was simply theintuition that it being in Scots would workto the benefit of the production ldquoItrsquos not

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Scotland Shakes

40 SHAKESPEARE magazine

so much that 16th century English canrsquot docertain things more that using Scots brings itcloser to a Scottish audience and to audiences who might think Shakespeare too fancyrdquo hesays ldquoI feel too that Scots can catch the sheerphysical power of Shakespearersquos language He writes lines you really feel physically when

you say them out loud My intention was touse Scots to produce a text that was actableand which would be accessible and enjoyablefor the audience and the Scots was a majorpart of thatrdquo

Arguably translating Shakespeare intoScots ndash viewed by many as a distinct languagefrom English ndash is just one way of finding thecontinued relevancies of Shakespearersquos writing with the here and now Certainly John Burns was keen to see if Scots ldquocould match the way

Shakespeare switches tonehellip from broad attimes bawdy humour to moments that aremore serious or even sinisterrdquo

Yet there is a wider perspective whether wersquore discussing translation into Scots orsaying Shakespearersquos words with a Scottishaccent Willy Maley and Andrew Murphyin their introduction to Shakespeare andScotland (published by Manchester UniversityPress in 2004) go as far as describing thetranslation of Shakespearersquos Macbeth into

Scots as ldquoa patriotic actrdquo not least becauseof ldquothe political commitment implicit intranslating from English to Scots reversing

the dominant dubbing practice infi

lmsrdquoGlasgow-based novelist and playwright Alan Bissett ndash who actively campaigned fora Yes vote during last yearrsquos IndependenceReferendum ndash has since written about howsince the 1970s Scottish theatre had ldquoadeep engagement with the shifting beastof Scottish politicsrdquo Although Bissett wasfocusing primarily on original works byScottish playwrights and directors itrsquos worthpointing out that Shakespeare ndash despite therebeing absolutely no evidence to prove he evertravelled north of Carlisle ndash has played hisown part in this

As Maley and Murphy point outldquoScotlandhellip never had precisely the samerelationship with the Bard as England hasbut has experienced a fraught process ofappropriation incorporation and resistancerdquoIn part this is because Shakespeare ndash in hislatter career ndash was among the first lsquoBritishrsquo writers Many of his later plays ndash Cymbeline King Lear even Hamlet ndash were produced

A tartan-cladAntipholus andDromio in Bard inthe Botanicsrsquo TheComedy of Errors

Brian FergusonrsquosHamlet CitizensTheatre productionPhoto by TimMorozzo

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under the patronage of Scotlandrsquos King JamesVI (aka James I of England) Each in theirown way can be said to touch on ldquothe matterof Britainrdquo the complex relationship between

the constituent elements of Jamesrsquos newlsquounitedrsquo kingdom which the Stuart monarch was determined to see joined into oneat never quite happened of course

Even after the 1707 Act of UnionScotland retained its own legal educationaland religious systems along with anaccompanying sense of Scottish identity ndash which survived even the height of the Britishempire Yet from the 1970s on there havebeen notable changes in how Shakespeareis treated by Scotlandrsquos producing theatrecompanies Several years ago GlasgowrsquosCitizenseatre delivered a powerful Romeoand Juliet in part because of their decision toset the action in a present-day sectarian Westof Scotland ndash with accents to match

ldquoEnglish-accented Shakespeare carriesa specific resonance in Scotland one thatdirectors usually choose to avoidrdquo pointsout Mark Fisher a freelance journalist criticand author of the forthcoming book How toWrite Abouteatre

ldquoIrsquom not sure exactly when attitudesstarted to change but Irsquod say the argumentin favour of Scottish-accented productionshad been pretty much won by the 1990sBy that time companies such as Raindogand directors such as Hamish Glen hadbeen making a point of casting very Scottishproductions of Shakespearerdquo

One example of how things hadprogressed even by 1992 was the late KennyIrelandrsquos production of A Midsummer

Nightrsquos Dream his first as Artistic Directorat Edinburghrsquos Royal Lyceum ldquoHe castthe mechanicals with Scottish accents andeveryone else with English accentsrdquo MarkFisher explains ldquois I said in my review wasa fundamental error ndash or some such phrasee message it sent out was that people withScottish accents were foolish figures of fun whereas people with English accents wereserious figures of respect

ldquoIreland reacted furiously to my review

and made the case that he had based thecasting of the mechanicals around (the actor) Andy Gray who has a Scottish accent Inother words the meaning I inferred hadnot been deliberate I think itrsquos true to sayhowever that Ireland never cast a Shakespearelike that againrdquo

Gordon Barr is Artistic Director of

Glasgow-based Bard in the BotanicsScotlandrsquos only professional Shakespearecompany (see following pages)

ldquoWersquove never gone out of our way tomake Scottish versions of these texts norhave we gone out of our way to have classicaltraditional voicesrdquo he says ldquoMost of our coreactors have made their careers up here so wethink of them as Scottish actors

ldquoat is important to us to not overlylook outwards for the acting company As

much as possible we work with people who are based in Scotland Wersquore regularlyproducing Shakespeare here and we want tobe a part of the training to ensure that there isa range of strong classical actors hererdquo

Citizens Theatrewwwcitzcouk

Owen Whitehawas the Fool andDavid Hayman asLear in CitizensTheatrersquos King Lear Photo by TimMorozzo

Scotland Shakes

SHAKESPEARE magazine 41

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Bard in theBotanicsrsquo As You Like

It takes Rosalind andOrlando into theopen air

ldquoTouring is something that we have wanted to do foryears but was somethingthat we could not afford

to do without fundingrdquo says Gordon Barr Artistic Director of Scotlandrsquos only professionaloutdoor Shakespeare festival Bard in theBotanics If therersquos any irony attached tothe companyrsquos first major tour of Scotland which took place in early 2015 itrsquos that theperformances of their acclaimed Romeo and Juliet ndash featuring a cast of five ndash were playedexclusively indoors

ldquoNobody is touring classical theatre in

Scotland at the minute so itrsquos importantto usrdquo Barr adds ldquoOur work is so muchabout accessibility One of the joys of beingoutdoors is that people come to see the work who wouldnrsquot buy a ticket for a theatre Ifyou can bring a picnic sit out on the grass while watching the show it feels easier moreaccessible But people canrsquot come from Thursoto Glasgow for a night just to see a productionof Shakespeare They should be able to see itin Thurso So that is kind of where the urge totour came fromrdquo

Bard in the Botanics has presented outdoorShakespeare within the grounds of GlasgowrsquosBotanic Gardens since 2003 This yearrsquoslsquoUnlikely Wondersrsquo season presented newproductions of Loversquos Labourrsquos Lost The Merchant of Venice Richard II and A Midsummer Nightrsquos Dream in lsquoreprsquo between24 June and 1 August

The companyrsquos founder Scott PalmerBarr explains had done a lot of his training atthe Oregon Shakespeare Festival one of the

biggest in North America ldquoWith the kindof drive and enthusiasm that only Americanshave he managed to convince the entire cityof Glasgow that outdoor Shakespeare would work and that the weather wasnrsquot going to be

a problemrdquoTwo years later Palmer moved on and Barr

ndash originally involved as a director ndash succeededhim as Artistic Director ldquoIf anyone then hadsaid that I would end up spending 12 yearsrunning an outdoor Shakespeare festival I wouldnrsquot have believed themrdquo he says in hisoffice hidden behind some of the Botanicsrsquogardening sheds ldquoI very quickly fell in love with it once I started working here Despiteall the trials and tribulations that outdoortheatre in Scotland brings with it therersquos just

something magical and special about it Itrsquos a very close-knit company and thatrsquos sort of keptus all here as long as we have beenrdquo

While the annual summer season ofShakespeare plays in the Botanics will remainat the centre of what the company does ndashldquoOtherwise Bard in the Botanics becomesa rather strange namerdquo ndash Barr is very much

Outof theGarden

This year has seen Glasgowrsquos Bard in the Botanicsdo something completely unexpected They wentout on a tour of ndash whisper it ndash indoor venueshellip

Scotland Shakes

42 SHAKESPEARE magazine

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Scotland Shakes

SHAKESPEARE magazine 43

focused on building on the touring side ldquoBecause it was our first ever tour we

did end up taking Romeo and Juliet to theestablished Scottish touring circuitrdquo he addsldquoIt takes a while to build up relationships with the smaller venues thatrsquos going to bean ongoing process for us Even so we weretaking Romeo and Juliet to places like Mulland Stranraer ndash communities and venues thathavenrsquot had a lot of classical theatre comingthrough themrdquo

The choice of play was deliberate too ldquoIt was a production that was ready to go whichhad received five star reviews and sold out itsextended run in the Botanics in 2012 So weknew that the work was good but therersquos nodoubt that for a first tour we wanted to makeit easier for the venues to sell it Most venuesknow they can find an audience for Romeo and Juliet rdquo

In time he hopes that audiences aroundthe rest of Scotland will come to trust the Bardin the Botanics name sufficiently to take on theless familiar plays

ldquoYou just donrsquot know how quickly acommunity is going to turn out for Henry IV yetrdquo he says ldquoHopefully three or four toursdown the line theyrsquore going to turn out forBard in the Botanics ndash and if it happens to be

Henry IV well thatrsquos greatrdquoGiven their reimagining of A MidsummerNightrsquos Dream as a 1920s burlesque musicalis there a particular Bard in the Botanicsapproach to Shakespeare

ldquoOur kind of unofficial motto is lsquoBe BoldBe Braversquordquo Barr says ldquoIf wersquore continuingto stage these plays around 400 years afterShakespearersquos death I think therersquos an urgencyto ask lsquoWhyrsquo It is important to questionlsquoWhat is the story that we want to tellrsquo I wantto see how these plays intersect with historyand todayrsquos society not to present museumpieces

ldquoItrsquos always with an eye to try to releasesomething thatrsquos within the textrdquo Barrinsists ldquoWersquore not remotely interested ininnovation for innovationrsquos sake The playsare masterpieces thatrsquos essentially why wersquorestill doing them 400 years later But to revealsomething thatrsquos unexpected or new thatrsquosimportant to usrdquo

Bard in the Botanics

wwwbardinthebotanicscouk

Rosalind and Audreyin the forest Bardin the Botanicsrsquo As You Like It

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Shakespeare at the Tobacco Factory stf 2016 Seasonco-production with Tobacco Factory Theatres

HAMLETBy William Shakespeare

Directed by Andrew Hilton

Main run Thu 11 February ndash Sat 26 March 2016

In repertoire with Allrsquos Well That Ends WellMon 25 ndash Wed 27 April Sat 30 April 2016

The most famous play in world drama Hamlet

turns a new face to every decade So many

elements - political madness sex murder ndash all

brought together in a drama that is both a thriller

and the profoundest meditation on our human

condition

ldquoThrilling workrdquo The Guardian on Romeo amp Juliet

ldquoBullseyerdquo WhatsOnStage on Romeo amp Juliet

Shakespeare at the Tobacco Factory Friends Priority Booking opens Wed 23 September 10am

wwwstf-theatreorguk

Tobacco Factory Theatres Members Priority Booking opens Wed 16 September 10am

wwwtobaccofactorytheatrescom

Public Booking opens Wed 30 September 10am

Tobacco Factory Box Office 0117 902 0344

ALLrsquoS WELL THAT ENDS WELLBy William Shakespeare

Directed by Andrew Hilton

Main run Thu 31 March ndash Sat 23 April 2016

In repertoire with Hamlet

Thu 28 ndash Fri 29 April Sat 30 April

A young woman using skills bequeathed herby her father saves the French Kingrsquos life and

is rewarded with the right to choose her own

husband But what if the chosen one wonrsquot play

the game How can she get him into bed How

can she make him love her

ldquo There is something approaching real

magic hererdquo The Arts Desk on The School for Scandal

P h o t o s M

a r k D o u e t

Dorothea MyerBennett in Richard III

Benjamin Whitrowand Julia Hills in The

School For Scandal

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Having conquered

Hollywood and vanquished

the global entertainment

industry video games now

on our culture So where

does the Bard stand in all of

this We sent a Shakespeare

scholar to investigatehellip

Words Andrew Bretz

Shakespeare video games

46 SHAKESPEARE magazine

T eGamersquos A oot Silent Hill is one

big-name gamewhich includesShakespearereferences

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Shakespeare video games

SHAKESPEARE magazine 47

German cardboard Macbeth datingfrom the early1800s

Hamlet reimaginedRyan Northrsquos To Be

Or Not To Be

W

hen you walk intothe wood panelled Victorian Gothicismof the Gail Kern Paster

Reading Room at theFolger Shakespeare Library in WashingtonDC video games are probably the lastthing on your mind Buried deep withinthe archives however are a set of fragilecardboard figures printed in Germany in theearly 1800s representing each of the maincharacters of Macbeth

Nineteenth century German children would play with these figures on smallcardboard stages no bigger than a dollhouseey could replicate the story as it was toldin Shakespeare or use their imagination tochange the ending letting Lady Macbethsurvive and bringing Duncan back from thedead if they so chosee limits of the game were the limits of their imagination

Today the lsquogamificationrsquo of Shakespeareis a big business from Ryan Northrsquos choose-your-own-adventure edition of Hamlet To Be Or Not To Be to IDW Gamesrsquosupcoming Kill Shakespeare board gamebased on the comic of the same name

Gamifying Shakespeare is filtering intoschools libraries and the theatrical worldas well with the University of California atDavis the Stratford Festival in Ontario theGlobeeatre in London and the LondonMetropolitan Archives all experimenting with video game elements in exhibits productionsand research

Why video games In a sense this is thelogical next step in the media development ofShakespeare Hersquos everywhere in other media

books movies merchandise But videogamese answer for that depends on whoyou ask

StorytellingOccasionally individuals or publishinghouses develop video games that try to tellthe story of say Hamlet yet this is relativelyrare One example would be Elsinore a time-looping narrative adventure game set in the world of the play Players play the game as

Ophelia who wakes up knowing that in fourdays the entire court will be dead and shemust do something to stop ite problemis that she is stuck in a time loop reliving thesame four days over and over againat said Shakespearersquos presence in the

video game industry tends to be focused oncitation rather than adaptation of the playsat is video games for Xbox Playstationand other popular gaming systems often

just cite Shakespearersquos plays as a part of acommon cultural heritageese games donrsquotrestage say Hamlet but they quote the playIn these cases Shakespeare is used to establisha point of identification for the audience His writing tells the audience something aboutthe character or the situation

Given that audiences are supposedto be able to identify the quotations asShakespearean it is unsurprising that Hamlet is the most popular text for game designers to

cite Ine Elder Scrolls Online for instancea merchant NPC (non-player character)quotes Polonius when players interact sayingldquoNeither a borrower nor a lender berdquoe words establish the NPCrsquos role as a merchant while fitting the medieval world of thegame In the game LA Noire upon pickingup a fake shrunken head at a crime scene adetective leaps into high melodrama withldquoAlas poor Yorick I knew him Horatiordquoequotation and the clever voice acting establish

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Shakespeare video games

48 SHAKESPEARE magazine

the characterrsquos strait-laced yet macabre senseof humour

Sometimes citing Shakespeare is a partof a critique of a larger theme In the game Mass E ff ect the Elcor are a race of elephantinealiens who preface all statements with adescription of the emotion they are feelingand who speak in a slow monotonous drone As players interact with the expansive worldthey can discover a number of advertisementsfor an all-Elcor Hamlet e idea of theElcor actor ndash the ultimate in a flat woodenperformer ndash having to preface ldquoTo be or not

to berdquo with ldquomorose ruminationrdquo goes beyondthe simple humour of a bad Shakespeareperformance It subtly asks what it is aboutacting (and especially voice acting) that isvaluable

Shakespeare can appear in video gamesnot merely as a marker or contextualisationtool but as a part of a puzzle For example inthe game Silent Hill 3 players must arrange aset of Shakespeare anthologies on a bookshelfin an abandoned shopping mall in order to

proceed in the game At the hardest levelthe puzzle clue takes the form of a poemthat references all the major tragedies Romeoand Juliet King Lear Macbeth Othello andof course Hamlet e bloody nature of thetragedies fits with the bloody nature of theSilent Hill series of games which fall into thesurvival horror genre

Popular video games have also servedas the inspiration for games that engage with Shakespeare in a more direct way For

example Daniel Fischlin at the Universityof Guelph in Ontario Canada led a teamthat created a Flash game called rsquoSpeare Itrsquos

a scrolling arcade-style game suggesting thersquo80s hit Galaga which sees players identifyingand navigating through a series of enemies who turn into words upon being destroyede player progresses through the levelsby collecting the correct words to createShakespearean quotes learning Shakespeareantrivia along the way

ImmersionOne of the most exciting aspects of videogames is the ability to immerse the player inthe world of the game in a way that othermedia simply cannot do Being able to walkaround Prosperorsquos cell Julietrsquos balcony orto stand before the ghost of Hamletrsquos fatheras he cries out ldquoList list O listrdquo ndash theseexperiences are made possible through videogame technology

Students of Scenic Arts at the Universityof Hildesheim in Germany created Projekt ARIEL or SturmMOD in 2008 using a lsquomodrsquo(or modification) to the engine that runs

the game Far Cry 1 e performance artproject allowed users to experience Prosperorsquosisland interacting with certain parts andexploring others Players could walk aroundan imaginative rendition of Prosperorsquos cell and witness or interact with elements of the playincluding diff erent characters like CalibanProspero and Miranda

Four days to savethe Danish court

Elsinore

Another Hamlet reference this timein LA Noire

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Shakespeare video games

SHAKESPEARE magazine 49

Gina Bloom at the University of Californiaat Davis is presently spearheading a projectthat will be demonstrated in the lobby of theStratford Festival theatre in Ontario Canadathis summere project Play the Knave AShakespeare Performance Videogame lets usersdesign a virtual performance space and thenperform a scene from a Shakespeare playinhabiting this constructed space with anavatar As a Davis insider explains ldquoWe use akinect motion capture camera to capture theuserrsquos skeletal data so that players use theirentire bodies to control their avatarrsquos gesturesonscreen all the while reciting the lines from

Shakespearersquos scenerdquo is literally immersesthe players in the scene

Shakespearersquos Globe eatre in Londontook another tactic regarding immersionin the production of the game HemmingsrsquoPlay Company Hosted on the Playgroundportion of the Globersquos website and thusaimed at an audience of children the gamehas players taking on the role of Hemmingsan Elizabethan bear who leads a troupe oftheatrical animals such as Kit the Cat Dekker

the Dog and Slye the Foxe turn-based game leads players through

the vagaries of Elizabethan theatre practicefrom patronage to lost props and the plagueBy the end of the game players must earnenough money to rebuild the Globe after itburns down during a performance of HenryVIII

Also from Shakespearersquos Globe are twoinnovative video experiences created forchildren aged five to 11 e first Exploring

Shakespeare features two boys on a tour ofthe Globe theatre who sneak off to explorebackstage e video illustrates four plays

using short animations that are keyedto things the boys find backstage etechnology combines live action film andanimation to create an interactive touchablegame Filled with mini-games quizzes andinteresting facts about Shakespeare the gameallows players to click through the narrativeor to stop and learn more as they go along

e second video called Staging It usesthe same technology as the first film but thistime is for the 11-16 age group In this gamee Globe has filmed two actors performingfamous duologues from A MidsummerNightrsquos Dream and Macbeth on the Globestage Rather than shoot it once the actorshave performed their lines in diff erent ways(happy flirtatious defensive and so on)creating several diff erent clips per linePlayers can watch each of the clips and addtheir choice to a dynamic storyboard tobuild up their final scene Impressively theplatform allows for up to 1000000 diff erentcombinations of clips

Apps and Mini-GamesItrsquos when you start to look outside of therealm of popular video game platformslike Xbox or Playstation that Shakespeare

Silent Hill 3 Brush upyour Shakespeare ifyou want to survive

Hemmingsrsquo PlayCompany fromShakespearersquosGlobe

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Shakespeare video games

50 SHAKESPEARE magazine

really starts to pop up wherever you looke ubiquity of Shakespeare is especiallynoticeable when you start to look at apps andmini-games designed for phones and tablets

In 2012 Big Fish Games released aniPhone and iPad game called Hamlet that featured all the main characters ofShakespearersquos play but transposed them intoa save-the-princess narrative puzzle game A time traveller lands in Denmark andaccidentally kills Hamlet and so players mustcomplete his journey for him saving Opheliaand killing Claudiuse Shakespeareancontent is minimal and heavily adapted andyet it fits with the puzzle format in whichShakespeare tends to be found in videogamese Chronicles of Shakespeare Romeo amp

Juliet ande Chronicles of Shakespeare A Midsummer Nightrsquos Dream are lusciously-illustrated puzzle games for the PC In themplayers act as one of the characters from theplays gathering items and clues through aShakespearean environment

Among the literally thousands of appsrelated to Shakespeare that can be found forthe iPad or Android tablet are

e Shakespearean Insult Creator which generates invectives drawn from a wholly Shakespearean vocabulary So nexttime you want to call someone a jerk trysomething more like ldquoou fusty follyfallenfustilarianrdquo

e Shakespeare Translator whichtranslates ldquonormal English words and phrasesinto the words of Shakespeare himselfrdquo

e Shakespeare Fortune Cookie which provides short quotes from the plays

and a small trivia game Shakespeare or Die a game that

scrambles the words of famous quotationsfrom the plays and asks you to identify theplay and character who spoke the line If youmake a mistake however beware the witchesese apps are either explicitly games or

they are coming out of a game-like impulse tomake Shakespeare more accessible to everyone with an internet connection

Brave New WorldsIn a world where Shakespeare is an industrycounted in the millions of dollars per yearit is so easy to forget that Shakespearersquos playsare just that ndash playsere is a sense of joyand fun and happiness embedded in theexperience of watching them Games are oneof the ways that people over the centuries

have tried to recapture that elusive sense ofplayfulness within Shakespeare So it makesperfect sense that now with the advent ofdigital technologies Shakespeare is movinginto the digital world with a vengeance

From big studio games likee ElderScrolls to small apps that can be downloadedfor free from talking bears to immersiveperformance experiences Shakespeare iseverywhere in video games Rather than beingan undiscovered country into which the Bard

is only just beginning to emerge games havein fact engaged with Shakespeare and his works for hundreds of years And they willprobably continue to do so for hundreds ofyears to come

rsquoSpeare is a scrollingarcade-stylegame with addedShakespeare trivia

Hamlet is aShakespeare-themed puzzle fromBig Fish Games

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Meet thy makers

Helen Mears fell into bardolatryduring her teenage years and has

never recovered She is a volunteersteward at Shakespearersquos Globe

which ensures a regular diet of theBard She teaches English Film andMedia at Suffolk New College and isa specialist in teaching Shakespeareusing active methods Her favouriteShakespearean actor is Jamie Parker

and her favourite plays are the SecondHistory Tetralogy She hopes to

finish her Masters in the AdvancedTeaching of Shakespeare very soonFind her on Twitter hipster_hels

Paul F Cockburn is an Edinburgh-based freelance magazine journalist who specialises in writing about

arts and culture equality issues andpopular science Hersquos sufficiently

grey-haired for his English Literaturetraining to have sort of overlapped

with The BBC Television Shakespeareproject saving at least some of the

plays from death by academiaFind him on Twitter paulfcockburn

Jen Richardson first fell in love withShakespeare as a 15-year-old schoolgirl

ldquoHe got under my skin and hersquos still theretodayrdquo After training with a Manchester-based drama tutor she went on to pursuean acting career Drama remains a greatinterest but her focus is now on sharing

her passion for Shakespeare throughher writing In her spare time Jen is

generally down in Stratford-upon-Avonsitting on her favourite bench behind

Holy Trinity ChurchFind her on Twitter The_JenJen

Andrew Bretz is a sessional instructorof English Literature and Drama

specialising in early modern dramaHe has taught at Wilfrid LaurierUniversity the University of Guelph

Brock University and McMasterUniversity For the past two years he

has taught a special summer intensiveat Ontariorsquos Stratford Festival His PhDdissertation was on the representationof sexual violence on the early modern

stage Find him on TwitterAndrewBretz001

Just some of the contributors to this issue of Shakespeare Magazine

Rosalind Lyons is a painter whohas exhibited widely in both mixedand solo shows with work in UK

and international private collections A life-long love of Shakespeare isreflected in many of her paintings

and a particular recent focus isShakespearersquos Globe theatre where shespent a period as artist-in-residenceShe is currently studying for a PhD

in Painting and ShakespeareanTheatre at Anglia Ruskin University

in CambridgeFind her on Twitter roslyons

52 SHAKESPEARE magazine

Contributors

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Page 27: Shakespeare Magazine 08

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Roaslind Lyons

28 SHAKESPEARE magazine

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For UK artist Rosalind Lyons the Bard is a

constant presence in her creative life She tells

us how Shakespeare inspired the haunting and

dreamlike works that adorn these pages

Words and paintings by Rosalind Lyons

Rosalind Lyons

SHAKESPEARE magazine 29

Left TheRoaring Boys

PAINTINGSHAKESPEARE

S hakespeare has long been at the heart ofmy work sometimes directly and obviouslyin the subjects and often in the titlesBut always Shakespearersquos words charactersand stories are there in my head when Iam painting ndash a perpetual conscious andunconscious presence

My style echoes that of the Renaissancepainters and Elizabethan portraits andthese influences combined with a life-long love of Shakespeare made my firstvisit to Shakespearersquos Globe pivotal Iexperienced a powerful sense of connectionand recognition Here suddenly ideasand themes with which I had been so longpreoccupied were brought to life

I subsequently gained access to theGlobe to draw and later spent some time

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as Artist in Residence thereat experienceprompted more in-depth exploration notonly of Shakespeare and painting but of therelationship between painting and theatreere are of course the strong visualconnections ndash both are spaces for spectacleand illusion But also compelling ideas oftransformation imagination storytelling andidentity And overall the theme of ambiguitye blurring of boundaries between realityand fiction male and female light andshadow past and present I am fascinated byhow we respond to history how we re-presentand re-imagine the past And the figures inmy paintings are imagined as belonging toboth now and then ndash flitting back and forthacross the threshold between past and presentbetween Shakespearersquos time and our own

modern worldI have painted some specific characters

from Shakespeare but many subjects ofmy paintings are anonymouse figuresare unknown their place purpose role is amysteryis anonymity is unsettlingereare clues in the setting in the costumes ndash orperhaps I should just say in the clothes theyare wearing ndash but the context is not obviousI am fascinated by the dramatic convention ofcross-dressing ndash and particularly the inherent

confusion as with Rosalind ( As You Like It )and Viola (Twelfth Night ) in the idea of aboy playing a girl playing a boy Many of thecharacters I invent are androgynous theirgender and age uncertainis ambiguityof identity interests me in the context ofvisual illusion and theatrical transformationthe idea of inbetween-ness and somethingunresolved

Like theatre my paintings are concerned with inventing characters and the creation

Right No MoreYielding But A

Dream

Roaslind Lyons

30 SHAKESPEARE magazine

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of an imaginary world and I am particularlyattracted to the fools fairies and witchesIn A Midsummer Nightrsquos Dream the fairiesrsquoactions may seem malevolent or benign or just mischievous but there is definitely a dark

side an underlying sense of threate Fool too is intriguing Shakespearersquosfools frequently describe themselvesor are referred to as a nobody but areunquestionably much moree fool is anoutsider concerned with but at the same timeseparate from the story He ndash or sometimesshe ndash doesnrsquot quite belong anywhere butseems to exist on the boundary between thefamiliar and the uncanny

I am attracted to the strange to mysteryand shadows and try to express through myimages a strong feeling that it could be thator maybe something else As Orsino says atthe conclusion of Twelfth Night ldquoA naturalperspective that is and is notrdquo While makinga painting and even when it is finished Idonrsquot know really who my characters are ndashthey remain elusive But I like not knowingand ultimately meanings always change anddepend on individual perceptions

My experience at the Globe led to aparticular fascination with the ambiguous and

protean quality of the theatrical performerhow their identity transforms and fluctuatesI was attracted by this when watching

Rosalind Lyons

SHAKESPEARE magazine 31

Above A MidwinterNightrsquos Dream

Right Three Fools

Far right FollowingDarkness

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rehearsals observing actors shift between selfand impersonation between diff erent realitiesand identities When they are not acting theyndash metaphorically and often literally ndash melt

into the shadows I am interested too in thephysical and symbolic threshold between lsquoonrsquoand lsquooff rsquo-stage the transformation inherentin an actor moving from the wings onto thestage assuming another self and anotheridentity Particularly evocative is the fact thatactors were colloquially known as shadowsin the Elizabethan playhouses ndash suggestingsomething unknowable and insubstantialIn the Prologue to Henry V Shakespeare hasthe Chorus describe the players as lsquociphersrsquoimplying deception and secrecy

Artists in the past who have tackledShakespeare have generally produced imagesthat directly illustrate the text or representfamous actors or scenes from a particularperformance Today as well as on the stageShakespearersquos plays are frequently re-imaginedin very successful film and TV adaptationsbut I have struggled to find more than ahandful of contemporary fine artists whohave engaged with Shakespeare on any levelPerhaps Shakespeare as a subject is seen

by some as too traditional too lsquopopularrsquoor simply just too lsquooldrsquo But in the theatreand in literature there is an ever-increasingenthusiasm for innovative interpretationsof the plays and for me Shakespeare is aconstant inspiration

e Prologue of Henry V also urges theaudience to ldquoPiece out our imperfections withyour thoughtsrdquo to liberate the imaginationand create another kind of reality to shapeour own fantasies within the ldquowooden Ordquo of

the theatre In my paintings I endeavour todo the same

Explore the work of Rosalind Lyons atwwwrosalindlyonscom

Above These Two CreaturesBelow Therersquos Magic In Thy Majesty

Roaslind Lyons

32 SHAKESPEARE magazine

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$amp( ) +-01

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Aidan OrsquoReilly

34 SHAKESPEARE magazine

Looking forRichard AidanOrsquoReilly is playingShakespearersquosbaddest monarch

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Aidan OrsquoReilly

SHAKESPEARE magazine 35

You are legally blind having been

diagnosed with retinoblastoma as an

infant How did this impact on your

acting aspirations and early career

ldquoMy parents did a good job raising me Inever grew up thinking of it as a handicap orthinking it could hold me back from what I wanted to do I couldnrsquot play sports at all soI think my parents were grateful that I hadsomething that I was passionate about from avery young age

ldquoI went to a public elementary school with a program designed for the blind so itfelt very natural for me to be the way that I was And acting has always been part of thatrdquo

You went to RADA in London Was

there a reason why you wanted to

train in England and not in the US

ldquoItrsquos always been an ambition of mine to

travel as far and wide as possible Also myhero growing up was Peter OrsquoToole ndash Iread his autobiography in high school andlearned he had gone to RADA and decided I wanted to go there too So I auditioned therenot knowing that RADA is arguably thebest drama school in the English-speaking world Consequently I was quite relaxed atthe audition which is probably why I gotin My ignorance can sometimes serve me well Going to RADA was a life-changing

Aidan OrsquoReilly is an actor with an

inspiring story Legally blind since he

was six months old he forged a passionfor drama at an early age Aidan went

on to gain a BA with honours from

Londonrsquos Royal Academy of Dramatic

Art before touring for three years with

the American Shakespeare Center

In 2012 Aidan was diagnosed with

sarcoma a rare cancer He bounced

back in 2014 after intensive treatment

and is now cancer-free We spoke to

Aidan as he prepared to play the title

role in Richard III for Californiarsquos Marin

Shakespeare Company We asked himto share his story and to give us his

take on one of Shakespearersquos most

fascinating characters

Interview by Jen Richardson

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Aidan OrsquoReilly

36 SHAKESPEARE magazine

experience I was lucky enough to havecontact with brilliant professors and Irsquom stillin awe of the students I went to school withI wouldnrsquot trade that experience for anythingrdquo After graduating from RADA you

went on the road with the American

Shakespeare Center Tell us a bit

about that

ldquoThat was one of the happiest times of mylife In many ways I got spoiled I was a working actor 11 months out of the yeartouring nationally seeing parts of the USI had never been to before doing plays Iloved and working with directors who werevehemently faithful and respectful to the text When I wasnrsquot on the road I was in residenceat the Blackfriars Playhouse in StauntonVirginia with many extraordinary actorsI was very lucky to be thererdquo

Three years ago you were diagnosed

with sarcoma How did you

overcome this enormous challenge

and return to the stage in 2014

ldquoThe only reason Irsquom still alive is because ofmy mother Lily and my wife Jocelynn AlsoI was fortunate that we caught it before it hadspread and it was on my leg and away fromany major organs

ldquoI am very grateful for my team of doctorsat UCSF who did an incredible job in mytreatment and follow-up care Irsquom glad to beback to workrdquo Yoursquore now due to play Richard III

with Marin Shakespeare Company

Howrsquos it going so far

ldquoAt this point Irsquom in the paperwork stage

of things A lot of reading the HenryVI s biographies of Richard as well asperformance history of the play itself Irsquomdoing a fair amount of limping around myapartment as well I canrsquot wait to get intorehearsals next weekrdquo Tell us about Marin Shakespeare

Company and what appealed to you

about working with them

ldquoRobert and Lesley [Currier MSCrsquos Artistic

Director and Managing Director] arefascinating people Their intelligence andhumour is contagious Without questionthere is a lot to be learned from themrdquo Richard IIIrsquos remains were discovered

in 2012 and reburied this year Is all

the new information about Richard

influencing your portrayal

ldquoYes and no My job isnrsquot to play the historicalRichard but the Richard that Shakespeare has

Aidan believesthat Richard IIIrsquosobsession withcontrol is whatcauses his downfall

ldquoPeter OrsquoToole wasmy hero He went to

RADA so I wanted to go there toordquo

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Crowning gloryAidan with MarinShakespearersquosRobert Currier

created Itrsquos helpful to know the facts of thesituation in order to gain insight into whathas been changed in Shakespearersquos versionof events

ldquoI met with a friend of mine who is a

retired surgeon who walked me through themedical information that has come to lighton Richardrsquos body and I will certainly usethat to inform my physical choicesrdquo Unlike many actors yoursquore the right

age to play the historical Richard III

Do you feel Richardrsquos relative youth

has been overlooked

ldquoI do Richard is a young man who believeshe is hardened by the experiences he andhis family endured during the War of theRoses and believes himself to be beyondhuman emotions and the lsquorestrictionsrsquo of aconscience He isnrsquot He pays the bill for thehorrible things he does That lack of self-knowledge is not exclusive to youth but I feelit makes him more sympathetic and relatableto an audiencerdquo Some people think Richard III shows

Shakespeare delivering a highly

effective piece of Tudor propaganda

Where do you stand on thatldquoI think Shakespeare has a soft spot foroutsiders and underdogs Although his playssometimes work within the confines of thebiases of Elizabethan society he canrsquot help butmake his lsquovillainsrsquo fascinating human beings

For as horrible as Richard is itrsquos amazing tosee how audiences relate and respond to himrdquo Which other important themes do

you feel Shakespeare deals with in

the playldquoThe history plays are full of extraordinarypeople who waste their lives and intelligence who sacrifice their humanity in pursuit of thecrown Itrsquos still happening today What is theattraction of power Richard never pauses tothink of why he wants the crown or if hersquodbe any good as king Turns out hersquos not butitrsquos this bizarre obsession with control thatpropels him to kill everyone off thatrsquos in his way Itrsquos also fascinating that the one characterthat is consistently kind to Richard is hisfather York

ldquoI think an argument can be made thatRichard in his warped way is trying to liveup to the image he has of his father Ofcourse York is dead and gone by the timeRichard III begins but you can glean a lotabout Richardrsquos inner workings in the way hespeaks about his father Of course itrsquos foolishto try to answer questions that Shakespearedoesnrsquot and Irsquom not trying to say this solvesa mystery but I think itrsquos interesting Itrsquos only

an element itrsquos not the answerrdquo Richard III is listed as a historical

play in the First Folio but in the

quarto edition it is termed a tragedy

Which category would you put the

play in and why

ldquoI think of the history plays from Richard II to Richard III as one vast play an epic thatencompasses all the categories I think if youlook at Richardrsquos progression through those

plays you see a great mind warped by the War of the Roses and that certainly adds tothe tragic element I think of Richard III asthe final chapter of a great epicrdquo

Aidan OrsquoReilly stars in Marin ShakespeareCompanyrsquos Richard III from 4-27 September

Aidan OrsquoReilly

SHAKESPEARE magazine 37

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Scotland Shakes

SHAKESPEARE magazine 39

Bonnie Prince

Brian Fergusonas Hamlet in theCitizens Theatre

production Photoby Tim Morozzo

Billy William Shakespeare is undoubtedly Englandrsquos

Bard But how is he viewed north of the border

Our Caledonian correspondent surveys the state

of Shakespeare in Scotland and meets esteemed

outdoor theatre company Bard in the Botanics

Words Paul F Cockburn

T owards the end of May thisyear a BBC Scotland afternoon

news bulletin surprisinglyturned its attention to aforthcoming production of

ldquoone of William Shakespearersquos best lovedplaysrdquo ndash A Midsummer Nightrsquos DreamHowever this particular production wasnrsquotconsidered newsworthy because it came froman amateur group based in Dumfries andGalloway Not even that the CrossmichaelDrama Club were one of just seven amateurScottish groups taking part in the Royal

Shakespeare Companyrsquos Open Stages project which aims to help amateur companies

extend their repertoiresNo the lsquohookrsquo was how this newproduction was Shakespeare ldquobut no asyou micht ken itrdquo Because it had beenreimagined in Scots as A MidsimmerNichtrsquos Dreme

As it happens writer John Burns saysthat his principle reason for translating AMidsimmer Nichtrsquos Dreme was simply theintuition that it being in Scots would workto the benefit of the production ldquoItrsquos not

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Scotland Shakes

40 SHAKESPEARE magazine

so much that 16th century English canrsquot docertain things more that using Scots brings itcloser to a Scottish audience and to audiences who might think Shakespeare too fancyrdquo hesays ldquoI feel too that Scots can catch the sheerphysical power of Shakespearersquos language He writes lines you really feel physically when

you say them out loud My intention was touse Scots to produce a text that was actableand which would be accessible and enjoyablefor the audience and the Scots was a majorpart of thatrdquo

Arguably translating Shakespeare intoScots ndash viewed by many as a distinct languagefrom English ndash is just one way of finding thecontinued relevancies of Shakespearersquos writing with the here and now Certainly John Burns was keen to see if Scots ldquocould match the way

Shakespeare switches tonehellip from broad attimes bawdy humour to moments that aremore serious or even sinisterrdquo

Yet there is a wider perspective whether wersquore discussing translation into Scots orsaying Shakespearersquos words with a Scottishaccent Willy Maley and Andrew Murphyin their introduction to Shakespeare andScotland (published by Manchester UniversityPress in 2004) go as far as describing thetranslation of Shakespearersquos Macbeth into

Scots as ldquoa patriotic actrdquo not least becauseof ldquothe political commitment implicit intranslating from English to Scots reversing

the dominant dubbing practice infi

lmsrdquoGlasgow-based novelist and playwright Alan Bissett ndash who actively campaigned fora Yes vote during last yearrsquos IndependenceReferendum ndash has since written about howsince the 1970s Scottish theatre had ldquoadeep engagement with the shifting beastof Scottish politicsrdquo Although Bissett wasfocusing primarily on original works byScottish playwrights and directors itrsquos worthpointing out that Shakespeare ndash despite therebeing absolutely no evidence to prove he evertravelled north of Carlisle ndash has played hisown part in this

As Maley and Murphy point outldquoScotlandhellip never had precisely the samerelationship with the Bard as England hasbut has experienced a fraught process ofappropriation incorporation and resistancerdquoIn part this is because Shakespeare ndash in hislatter career ndash was among the first lsquoBritishrsquo writers Many of his later plays ndash Cymbeline King Lear even Hamlet ndash were produced

A tartan-cladAntipholus andDromio in Bard inthe Botanicsrsquo TheComedy of Errors

Brian FergusonrsquosHamlet CitizensTheatre productionPhoto by TimMorozzo

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under the patronage of Scotlandrsquos King JamesVI (aka James I of England) Each in theirown way can be said to touch on ldquothe matterof Britainrdquo the complex relationship between

the constituent elements of Jamesrsquos newlsquounitedrsquo kingdom which the Stuart monarch was determined to see joined into oneat never quite happened of course

Even after the 1707 Act of UnionScotland retained its own legal educationaland religious systems along with anaccompanying sense of Scottish identity ndash which survived even the height of the Britishempire Yet from the 1970s on there havebeen notable changes in how Shakespeareis treated by Scotlandrsquos producing theatrecompanies Several years ago GlasgowrsquosCitizenseatre delivered a powerful Romeoand Juliet in part because of their decision toset the action in a present-day sectarian Westof Scotland ndash with accents to match

ldquoEnglish-accented Shakespeare carriesa specific resonance in Scotland one thatdirectors usually choose to avoidrdquo pointsout Mark Fisher a freelance journalist criticand author of the forthcoming book How toWrite Abouteatre

ldquoIrsquom not sure exactly when attitudesstarted to change but Irsquod say the argumentin favour of Scottish-accented productionshad been pretty much won by the 1990sBy that time companies such as Raindogand directors such as Hamish Glen hadbeen making a point of casting very Scottishproductions of Shakespearerdquo

One example of how things hadprogressed even by 1992 was the late KennyIrelandrsquos production of A Midsummer

Nightrsquos Dream his first as Artistic Directorat Edinburghrsquos Royal Lyceum ldquoHe castthe mechanicals with Scottish accents andeveryone else with English accentsrdquo MarkFisher explains ldquois I said in my review wasa fundamental error ndash or some such phrasee message it sent out was that people withScottish accents were foolish figures of fun whereas people with English accents wereserious figures of respect

ldquoIreland reacted furiously to my review

and made the case that he had based thecasting of the mechanicals around (the actor) Andy Gray who has a Scottish accent Inother words the meaning I inferred hadnot been deliberate I think itrsquos true to sayhowever that Ireland never cast a Shakespearelike that againrdquo

Gordon Barr is Artistic Director of

Glasgow-based Bard in the BotanicsScotlandrsquos only professional Shakespearecompany (see following pages)

ldquoWersquove never gone out of our way tomake Scottish versions of these texts norhave we gone out of our way to have classicaltraditional voicesrdquo he says ldquoMost of our coreactors have made their careers up here so wethink of them as Scottish actors

ldquoat is important to us to not overlylook outwards for the acting company As

much as possible we work with people who are based in Scotland Wersquore regularlyproducing Shakespeare here and we want tobe a part of the training to ensure that there isa range of strong classical actors hererdquo

Citizens Theatrewwwcitzcouk

Owen Whitehawas the Fool andDavid Hayman asLear in CitizensTheatrersquos King Lear Photo by TimMorozzo

Scotland Shakes

SHAKESPEARE magazine 41

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Bard in theBotanicsrsquo As You Like

It takes Rosalind andOrlando into theopen air

ldquoTouring is something that we have wanted to do foryears but was somethingthat we could not afford

to do without fundingrdquo says Gordon Barr Artistic Director of Scotlandrsquos only professionaloutdoor Shakespeare festival Bard in theBotanics If therersquos any irony attached tothe companyrsquos first major tour of Scotland which took place in early 2015 itrsquos that theperformances of their acclaimed Romeo and Juliet ndash featuring a cast of five ndash were playedexclusively indoors

ldquoNobody is touring classical theatre in

Scotland at the minute so itrsquos importantto usrdquo Barr adds ldquoOur work is so muchabout accessibility One of the joys of beingoutdoors is that people come to see the work who wouldnrsquot buy a ticket for a theatre Ifyou can bring a picnic sit out on the grass while watching the show it feels easier moreaccessible But people canrsquot come from Thursoto Glasgow for a night just to see a productionof Shakespeare They should be able to see itin Thurso So that is kind of where the urge totour came fromrdquo

Bard in the Botanics has presented outdoorShakespeare within the grounds of GlasgowrsquosBotanic Gardens since 2003 This yearrsquoslsquoUnlikely Wondersrsquo season presented newproductions of Loversquos Labourrsquos Lost The Merchant of Venice Richard II and A Midsummer Nightrsquos Dream in lsquoreprsquo between24 June and 1 August

The companyrsquos founder Scott PalmerBarr explains had done a lot of his training atthe Oregon Shakespeare Festival one of the

biggest in North America ldquoWith the kindof drive and enthusiasm that only Americanshave he managed to convince the entire cityof Glasgow that outdoor Shakespeare would work and that the weather wasnrsquot going to be

a problemrdquoTwo years later Palmer moved on and Barr

ndash originally involved as a director ndash succeededhim as Artistic Director ldquoIf anyone then hadsaid that I would end up spending 12 yearsrunning an outdoor Shakespeare festival I wouldnrsquot have believed themrdquo he says in hisoffice hidden behind some of the Botanicsrsquogardening sheds ldquoI very quickly fell in love with it once I started working here Despiteall the trials and tribulations that outdoortheatre in Scotland brings with it therersquos just

something magical and special about it Itrsquos a very close-knit company and thatrsquos sort of keptus all here as long as we have beenrdquo

While the annual summer season ofShakespeare plays in the Botanics will remainat the centre of what the company does ndashldquoOtherwise Bard in the Botanics becomesa rather strange namerdquo ndash Barr is very much

Outof theGarden

This year has seen Glasgowrsquos Bard in the Botanicsdo something completely unexpected They wentout on a tour of ndash whisper it ndash indoor venueshellip

Scotland Shakes

42 SHAKESPEARE magazine

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Scotland Shakes

SHAKESPEARE magazine 43

focused on building on the touring side ldquoBecause it was our first ever tour we

did end up taking Romeo and Juliet to theestablished Scottish touring circuitrdquo he addsldquoIt takes a while to build up relationships with the smaller venues thatrsquos going to bean ongoing process for us Even so we weretaking Romeo and Juliet to places like Mulland Stranraer ndash communities and venues thathavenrsquot had a lot of classical theatre comingthrough themrdquo

The choice of play was deliberate too ldquoIt was a production that was ready to go whichhad received five star reviews and sold out itsextended run in the Botanics in 2012 So weknew that the work was good but therersquos nodoubt that for a first tour we wanted to makeit easier for the venues to sell it Most venuesknow they can find an audience for Romeo and Juliet rdquo

In time he hopes that audiences aroundthe rest of Scotland will come to trust the Bardin the Botanics name sufficiently to take on theless familiar plays

ldquoYou just donrsquot know how quickly acommunity is going to turn out for Henry IV yetrdquo he says ldquoHopefully three or four toursdown the line theyrsquore going to turn out forBard in the Botanics ndash and if it happens to be

Henry IV well thatrsquos greatrdquoGiven their reimagining of A MidsummerNightrsquos Dream as a 1920s burlesque musicalis there a particular Bard in the Botanicsapproach to Shakespeare

ldquoOur kind of unofficial motto is lsquoBe BoldBe Braversquordquo Barr says ldquoIf wersquore continuingto stage these plays around 400 years afterShakespearersquos death I think therersquos an urgencyto ask lsquoWhyrsquo It is important to questionlsquoWhat is the story that we want to tellrsquo I wantto see how these plays intersect with historyand todayrsquos society not to present museumpieces

ldquoItrsquos always with an eye to try to releasesomething thatrsquos within the textrdquo Barrinsists ldquoWersquore not remotely interested ininnovation for innovationrsquos sake The playsare masterpieces thatrsquos essentially why wersquorestill doing them 400 years later But to revealsomething thatrsquos unexpected or new thatrsquosimportant to usrdquo

Bard in the Botanics

wwwbardinthebotanicscouk

Rosalind and Audreyin the forest Bardin the Botanicsrsquo As You Like It

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Shakespeare at the Tobacco Factory stf 2016 Seasonco-production with Tobacco Factory Theatres

HAMLETBy William Shakespeare

Directed by Andrew Hilton

Main run Thu 11 February ndash Sat 26 March 2016

In repertoire with Allrsquos Well That Ends WellMon 25 ndash Wed 27 April Sat 30 April 2016

The most famous play in world drama Hamlet

turns a new face to every decade So many

elements - political madness sex murder ndash all

brought together in a drama that is both a thriller

and the profoundest meditation on our human

condition

ldquoThrilling workrdquo The Guardian on Romeo amp Juliet

ldquoBullseyerdquo WhatsOnStage on Romeo amp Juliet

Shakespeare at the Tobacco Factory Friends Priority Booking opens Wed 23 September 10am

wwwstf-theatreorguk

Tobacco Factory Theatres Members Priority Booking opens Wed 16 September 10am

wwwtobaccofactorytheatrescom

Public Booking opens Wed 30 September 10am

Tobacco Factory Box Office 0117 902 0344

ALLrsquoS WELL THAT ENDS WELLBy William Shakespeare

Directed by Andrew Hilton

Main run Thu 31 March ndash Sat 23 April 2016

In repertoire with Hamlet

Thu 28 ndash Fri 29 April Sat 30 April

A young woman using skills bequeathed herby her father saves the French Kingrsquos life and

is rewarded with the right to choose her own

husband But what if the chosen one wonrsquot play

the game How can she get him into bed How

can she make him love her

ldquo There is something approaching real

magic hererdquo The Arts Desk on The School for Scandal

P h o t o s M

a r k D o u e t

Dorothea MyerBennett in Richard III

Benjamin Whitrowand Julia Hills in The

School For Scandal

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Having conquered

Hollywood and vanquished

the global entertainment

industry video games now

on our culture So where

does the Bard stand in all of

this We sent a Shakespeare

scholar to investigatehellip

Words Andrew Bretz

Shakespeare video games

46 SHAKESPEARE magazine

T eGamersquos A oot Silent Hill is one

big-name gamewhich includesShakespearereferences

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Shakespeare video games

SHAKESPEARE magazine 47

German cardboard Macbeth datingfrom the early1800s

Hamlet reimaginedRyan Northrsquos To Be

Or Not To Be

W

hen you walk intothe wood panelled Victorian Gothicismof the Gail Kern Paster

Reading Room at theFolger Shakespeare Library in WashingtonDC video games are probably the lastthing on your mind Buried deep withinthe archives however are a set of fragilecardboard figures printed in Germany in theearly 1800s representing each of the maincharacters of Macbeth

Nineteenth century German children would play with these figures on smallcardboard stages no bigger than a dollhouseey could replicate the story as it was toldin Shakespeare or use their imagination tochange the ending letting Lady Macbethsurvive and bringing Duncan back from thedead if they so chosee limits of the game were the limits of their imagination

Today the lsquogamificationrsquo of Shakespeareis a big business from Ryan Northrsquos choose-your-own-adventure edition of Hamlet To Be Or Not To Be to IDW Gamesrsquosupcoming Kill Shakespeare board gamebased on the comic of the same name

Gamifying Shakespeare is filtering intoschools libraries and the theatrical worldas well with the University of California atDavis the Stratford Festival in Ontario theGlobeeatre in London and the LondonMetropolitan Archives all experimenting with video game elements in exhibits productionsand research

Why video games In a sense this is thelogical next step in the media development ofShakespeare Hersquos everywhere in other media

books movies merchandise But videogamese answer for that depends on whoyou ask

StorytellingOccasionally individuals or publishinghouses develop video games that try to tellthe story of say Hamlet yet this is relativelyrare One example would be Elsinore a time-looping narrative adventure game set in the world of the play Players play the game as

Ophelia who wakes up knowing that in fourdays the entire court will be dead and shemust do something to stop ite problemis that she is stuck in a time loop reliving thesame four days over and over againat said Shakespearersquos presence in the

video game industry tends to be focused oncitation rather than adaptation of the playsat is video games for Xbox Playstationand other popular gaming systems often

just cite Shakespearersquos plays as a part of acommon cultural heritageese games donrsquotrestage say Hamlet but they quote the playIn these cases Shakespeare is used to establisha point of identification for the audience His writing tells the audience something aboutthe character or the situation

Given that audiences are supposedto be able to identify the quotations asShakespearean it is unsurprising that Hamlet is the most popular text for game designers to

cite Ine Elder Scrolls Online for instancea merchant NPC (non-player character)quotes Polonius when players interact sayingldquoNeither a borrower nor a lender berdquoe words establish the NPCrsquos role as a merchant while fitting the medieval world of thegame In the game LA Noire upon pickingup a fake shrunken head at a crime scene adetective leaps into high melodrama withldquoAlas poor Yorick I knew him Horatiordquoequotation and the clever voice acting establish

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Shakespeare video games

48 SHAKESPEARE magazine

the characterrsquos strait-laced yet macabre senseof humour

Sometimes citing Shakespeare is a partof a critique of a larger theme In the game Mass E ff ect the Elcor are a race of elephantinealiens who preface all statements with adescription of the emotion they are feelingand who speak in a slow monotonous drone As players interact with the expansive worldthey can discover a number of advertisementsfor an all-Elcor Hamlet e idea of theElcor actor ndash the ultimate in a flat woodenperformer ndash having to preface ldquoTo be or not

to berdquo with ldquomorose ruminationrdquo goes beyondthe simple humour of a bad Shakespeareperformance It subtly asks what it is aboutacting (and especially voice acting) that isvaluable

Shakespeare can appear in video gamesnot merely as a marker or contextualisationtool but as a part of a puzzle For example inthe game Silent Hill 3 players must arrange aset of Shakespeare anthologies on a bookshelfin an abandoned shopping mall in order to

proceed in the game At the hardest levelthe puzzle clue takes the form of a poemthat references all the major tragedies Romeoand Juliet King Lear Macbeth Othello andof course Hamlet e bloody nature of thetragedies fits with the bloody nature of theSilent Hill series of games which fall into thesurvival horror genre

Popular video games have also servedas the inspiration for games that engage with Shakespeare in a more direct way For

example Daniel Fischlin at the Universityof Guelph in Ontario Canada led a teamthat created a Flash game called rsquoSpeare Itrsquos

a scrolling arcade-style game suggesting thersquo80s hit Galaga which sees players identifyingand navigating through a series of enemies who turn into words upon being destroyede player progresses through the levelsby collecting the correct words to createShakespearean quotes learning Shakespeareantrivia along the way

ImmersionOne of the most exciting aspects of videogames is the ability to immerse the player inthe world of the game in a way that othermedia simply cannot do Being able to walkaround Prosperorsquos cell Julietrsquos balcony orto stand before the ghost of Hamletrsquos fatheras he cries out ldquoList list O listrdquo ndash theseexperiences are made possible through videogame technology

Students of Scenic Arts at the Universityof Hildesheim in Germany created Projekt ARIEL or SturmMOD in 2008 using a lsquomodrsquo(or modification) to the engine that runs

the game Far Cry 1 e performance artproject allowed users to experience Prosperorsquosisland interacting with certain parts andexploring others Players could walk aroundan imaginative rendition of Prosperorsquos cell and witness or interact with elements of the playincluding diff erent characters like CalibanProspero and Miranda

Four days to savethe Danish court

Elsinore

Another Hamlet reference this timein LA Noire

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Shakespeare video games

SHAKESPEARE magazine 49

Gina Bloom at the University of Californiaat Davis is presently spearheading a projectthat will be demonstrated in the lobby of theStratford Festival theatre in Ontario Canadathis summere project Play the Knave AShakespeare Performance Videogame lets usersdesign a virtual performance space and thenperform a scene from a Shakespeare playinhabiting this constructed space with anavatar As a Davis insider explains ldquoWe use akinect motion capture camera to capture theuserrsquos skeletal data so that players use theirentire bodies to control their avatarrsquos gesturesonscreen all the while reciting the lines from

Shakespearersquos scenerdquo is literally immersesthe players in the scene

Shakespearersquos Globe eatre in Londontook another tactic regarding immersionin the production of the game HemmingsrsquoPlay Company Hosted on the Playgroundportion of the Globersquos website and thusaimed at an audience of children the gamehas players taking on the role of Hemmingsan Elizabethan bear who leads a troupe oftheatrical animals such as Kit the Cat Dekker

the Dog and Slye the Foxe turn-based game leads players through

the vagaries of Elizabethan theatre practicefrom patronage to lost props and the plagueBy the end of the game players must earnenough money to rebuild the Globe after itburns down during a performance of HenryVIII

Also from Shakespearersquos Globe are twoinnovative video experiences created forchildren aged five to 11 e first Exploring

Shakespeare features two boys on a tour ofthe Globe theatre who sneak off to explorebackstage e video illustrates four plays

using short animations that are keyedto things the boys find backstage etechnology combines live action film andanimation to create an interactive touchablegame Filled with mini-games quizzes andinteresting facts about Shakespeare the gameallows players to click through the narrativeor to stop and learn more as they go along

e second video called Staging It usesthe same technology as the first film but thistime is for the 11-16 age group In this gamee Globe has filmed two actors performingfamous duologues from A MidsummerNightrsquos Dream and Macbeth on the Globestage Rather than shoot it once the actorshave performed their lines in diff erent ways(happy flirtatious defensive and so on)creating several diff erent clips per linePlayers can watch each of the clips and addtheir choice to a dynamic storyboard tobuild up their final scene Impressively theplatform allows for up to 1000000 diff erentcombinations of clips

Apps and Mini-GamesItrsquos when you start to look outside of therealm of popular video game platformslike Xbox or Playstation that Shakespeare

Silent Hill 3 Brush upyour Shakespeare ifyou want to survive

Hemmingsrsquo PlayCompany fromShakespearersquosGlobe

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Shakespeare video games

50 SHAKESPEARE magazine

really starts to pop up wherever you looke ubiquity of Shakespeare is especiallynoticeable when you start to look at apps andmini-games designed for phones and tablets

In 2012 Big Fish Games released aniPhone and iPad game called Hamlet that featured all the main characters ofShakespearersquos play but transposed them intoa save-the-princess narrative puzzle game A time traveller lands in Denmark andaccidentally kills Hamlet and so players mustcomplete his journey for him saving Opheliaand killing Claudiuse Shakespeareancontent is minimal and heavily adapted andyet it fits with the puzzle format in whichShakespeare tends to be found in videogamese Chronicles of Shakespeare Romeo amp

Juliet ande Chronicles of Shakespeare A Midsummer Nightrsquos Dream are lusciously-illustrated puzzle games for the PC In themplayers act as one of the characters from theplays gathering items and clues through aShakespearean environment

Among the literally thousands of appsrelated to Shakespeare that can be found forthe iPad or Android tablet are

e Shakespearean Insult Creator which generates invectives drawn from a wholly Shakespearean vocabulary So nexttime you want to call someone a jerk trysomething more like ldquoou fusty follyfallenfustilarianrdquo

e Shakespeare Translator whichtranslates ldquonormal English words and phrasesinto the words of Shakespeare himselfrdquo

e Shakespeare Fortune Cookie which provides short quotes from the plays

and a small trivia game Shakespeare or Die a game that

scrambles the words of famous quotationsfrom the plays and asks you to identify theplay and character who spoke the line If youmake a mistake however beware the witchesese apps are either explicitly games or

they are coming out of a game-like impulse tomake Shakespeare more accessible to everyone with an internet connection

Brave New WorldsIn a world where Shakespeare is an industrycounted in the millions of dollars per yearit is so easy to forget that Shakespearersquos playsare just that ndash playsere is a sense of joyand fun and happiness embedded in theexperience of watching them Games are oneof the ways that people over the centuries

have tried to recapture that elusive sense ofplayfulness within Shakespeare So it makesperfect sense that now with the advent ofdigital technologies Shakespeare is movinginto the digital world with a vengeance

From big studio games likee ElderScrolls to small apps that can be downloadedfor free from talking bears to immersiveperformance experiences Shakespeare iseverywhere in video games Rather than beingan undiscovered country into which the Bard

is only just beginning to emerge games havein fact engaged with Shakespeare and his works for hundreds of years And they willprobably continue to do so for hundreds ofyears to come

rsquoSpeare is a scrollingarcade-stylegame with addedShakespeare trivia

Hamlet is aShakespeare-themed puzzle fromBig Fish Games

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Meet thy makers

Helen Mears fell into bardolatryduring her teenage years and has

never recovered She is a volunteersteward at Shakespearersquos Globe

which ensures a regular diet of theBard She teaches English Film andMedia at Suffolk New College and isa specialist in teaching Shakespeareusing active methods Her favouriteShakespearean actor is Jamie Parker

and her favourite plays are the SecondHistory Tetralogy She hopes to

finish her Masters in the AdvancedTeaching of Shakespeare very soonFind her on Twitter hipster_hels

Paul F Cockburn is an Edinburgh-based freelance magazine journalist who specialises in writing about

arts and culture equality issues andpopular science Hersquos sufficiently

grey-haired for his English Literaturetraining to have sort of overlapped

with The BBC Television Shakespeareproject saving at least some of the

plays from death by academiaFind him on Twitter paulfcockburn

Jen Richardson first fell in love withShakespeare as a 15-year-old schoolgirl

ldquoHe got under my skin and hersquos still theretodayrdquo After training with a Manchester-based drama tutor she went on to pursuean acting career Drama remains a greatinterest but her focus is now on sharing

her passion for Shakespeare throughher writing In her spare time Jen is

generally down in Stratford-upon-Avonsitting on her favourite bench behind

Holy Trinity ChurchFind her on Twitter The_JenJen

Andrew Bretz is a sessional instructorof English Literature and Drama

specialising in early modern dramaHe has taught at Wilfrid LaurierUniversity the University of Guelph

Brock University and McMasterUniversity For the past two years he

has taught a special summer intensiveat Ontariorsquos Stratford Festival His PhDdissertation was on the representationof sexual violence on the early modern

stage Find him on TwitterAndrewBretz001

Just some of the contributors to this issue of Shakespeare Magazine

Rosalind Lyons is a painter whohas exhibited widely in both mixedand solo shows with work in UK

and international private collections A life-long love of Shakespeare isreflected in many of her paintings

and a particular recent focus isShakespearersquos Globe theatre where shespent a period as artist-in-residenceShe is currently studying for a PhD

in Painting and ShakespeareanTheatre at Anglia Ruskin University

in CambridgeFind her on Twitter roslyons

52 SHAKESPEARE magazine

Contributors

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Page 28: Shakespeare Magazine 08

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Roaslind Lyons

28 SHAKESPEARE magazine

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For UK artist Rosalind Lyons the Bard is a

constant presence in her creative life She tells

us how Shakespeare inspired the haunting and

dreamlike works that adorn these pages

Words and paintings by Rosalind Lyons

Rosalind Lyons

SHAKESPEARE magazine 29

Left TheRoaring Boys

PAINTINGSHAKESPEARE

S hakespeare has long been at the heart ofmy work sometimes directly and obviouslyin the subjects and often in the titlesBut always Shakespearersquos words charactersand stories are there in my head when Iam painting ndash a perpetual conscious andunconscious presence

My style echoes that of the Renaissancepainters and Elizabethan portraits andthese influences combined with a life-long love of Shakespeare made my firstvisit to Shakespearersquos Globe pivotal Iexperienced a powerful sense of connectionand recognition Here suddenly ideasand themes with which I had been so longpreoccupied were brought to life

I subsequently gained access to theGlobe to draw and later spent some time

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as Artist in Residence thereat experienceprompted more in-depth exploration notonly of Shakespeare and painting but of therelationship between painting and theatreere are of course the strong visualconnections ndash both are spaces for spectacleand illusion But also compelling ideas oftransformation imagination storytelling andidentity And overall the theme of ambiguitye blurring of boundaries between realityand fiction male and female light andshadow past and present I am fascinated byhow we respond to history how we re-presentand re-imagine the past And the figures inmy paintings are imagined as belonging toboth now and then ndash flitting back and forthacross the threshold between past and presentbetween Shakespearersquos time and our own

modern worldI have painted some specific characters

from Shakespeare but many subjects ofmy paintings are anonymouse figuresare unknown their place purpose role is amysteryis anonymity is unsettlingereare clues in the setting in the costumes ndash orperhaps I should just say in the clothes theyare wearing ndash but the context is not obviousI am fascinated by the dramatic convention ofcross-dressing ndash and particularly the inherent

confusion as with Rosalind ( As You Like It )and Viola (Twelfth Night ) in the idea of aboy playing a girl playing a boy Many of thecharacters I invent are androgynous theirgender and age uncertainis ambiguityof identity interests me in the context ofvisual illusion and theatrical transformationthe idea of inbetween-ness and somethingunresolved

Like theatre my paintings are concerned with inventing characters and the creation

Right No MoreYielding But A

Dream

Roaslind Lyons

30 SHAKESPEARE magazine

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of an imaginary world and I am particularlyattracted to the fools fairies and witchesIn A Midsummer Nightrsquos Dream the fairiesrsquoactions may seem malevolent or benign or just mischievous but there is definitely a dark

side an underlying sense of threate Fool too is intriguing Shakespearersquosfools frequently describe themselvesor are referred to as a nobody but areunquestionably much moree fool is anoutsider concerned with but at the same timeseparate from the story He ndash or sometimesshe ndash doesnrsquot quite belong anywhere butseems to exist on the boundary between thefamiliar and the uncanny

I am attracted to the strange to mysteryand shadows and try to express through myimages a strong feeling that it could be thator maybe something else As Orsino says atthe conclusion of Twelfth Night ldquoA naturalperspective that is and is notrdquo While makinga painting and even when it is finished Idonrsquot know really who my characters are ndashthey remain elusive But I like not knowingand ultimately meanings always change anddepend on individual perceptions

My experience at the Globe led to aparticular fascination with the ambiguous and

protean quality of the theatrical performerhow their identity transforms and fluctuatesI was attracted by this when watching

Rosalind Lyons

SHAKESPEARE magazine 31

Above A MidwinterNightrsquos Dream

Right Three Fools

Far right FollowingDarkness

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rehearsals observing actors shift between selfand impersonation between diff erent realitiesand identities When they are not acting theyndash metaphorically and often literally ndash melt

into the shadows I am interested too in thephysical and symbolic threshold between lsquoonrsquoand lsquooff rsquo-stage the transformation inherentin an actor moving from the wings onto thestage assuming another self and anotheridentity Particularly evocative is the fact thatactors were colloquially known as shadowsin the Elizabethan playhouses ndash suggestingsomething unknowable and insubstantialIn the Prologue to Henry V Shakespeare hasthe Chorus describe the players as lsquociphersrsquoimplying deception and secrecy

Artists in the past who have tackledShakespeare have generally produced imagesthat directly illustrate the text or representfamous actors or scenes from a particularperformance Today as well as on the stageShakespearersquos plays are frequently re-imaginedin very successful film and TV adaptationsbut I have struggled to find more than ahandful of contemporary fine artists whohave engaged with Shakespeare on any levelPerhaps Shakespeare as a subject is seen

by some as too traditional too lsquopopularrsquoor simply just too lsquooldrsquo But in the theatreand in literature there is an ever-increasingenthusiasm for innovative interpretationsof the plays and for me Shakespeare is aconstant inspiration

e Prologue of Henry V also urges theaudience to ldquoPiece out our imperfections withyour thoughtsrdquo to liberate the imaginationand create another kind of reality to shapeour own fantasies within the ldquowooden Ordquo of

the theatre In my paintings I endeavour todo the same

Explore the work of Rosalind Lyons atwwwrosalindlyonscom

Above These Two CreaturesBelow Therersquos Magic In Thy Majesty

Roaslind Lyons

32 SHAKESPEARE magazine

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$amp( ) +-01

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Aidan OrsquoReilly

34 SHAKESPEARE magazine

Looking forRichard AidanOrsquoReilly is playingShakespearersquosbaddest monarch

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Aidan OrsquoReilly

SHAKESPEARE magazine 35

You are legally blind having been

diagnosed with retinoblastoma as an

infant How did this impact on your

acting aspirations and early career

ldquoMy parents did a good job raising me Inever grew up thinking of it as a handicap orthinking it could hold me back from what I wanted to do I couldnrsquot play sports at all soI think my parents were grateful that I hadsomething that I was passionate about from avery young age

ldquoI went to a public elementary school with a program designed for the blind so itfelt very natural for me to be the way that I was And acting has always been part of thatrdquo

You went to RADA in London Was

there a reason why you wanted to

train in England and not in the US

ldquoItrsquos always been an ambition of mine to

travel as far and wide as possible Also myhero growing up was Peter OrsquoToole ndash Iread his autobiography in high school andlearned he had gone to RADA and decided I wanted to go there too So I auditioned therenot knowing that RADA is arguably thebest drama school in the English-speaking world Consequently I was quite relaxed atthe audition which is probably why I gotin My ignorance can sometimes serve me well Going to RADA was a life-changing

Aidan OrsquoReilly is an actor with an

inspiring story Legally blind since he

was six months old he forged a passionfor drama at an early age Aidan went

on to gain a BA with honours from

Londonrsquos Royal Academy of Dramatic

Art before touring for three years with

the American Shakespeare Center

In 2012 Aidan was diagnosed with

sarcoma a rare cancer He bounced

back in 2014 after intensive treatment

and is now cancer-free We spoke to

Aidan as he prepared to play the title

role in Richard III for Californiarsquos Marin

Shakespeare Company We asked himto share his story and to give us his

take on one of Shakespearersquos most

fascinating characters

Interview by Jen Richardson

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Aidan OrsquoReilly

36 SHAKESPEARE magazine

experience I was lucky enough to havecontact with brilliant professors and Irsquom stillin awe of the students I went to school withI wouldnrsquot trade that experience for anythingrdquo After graduating from RADA you

went on the road with the American

Shakespeare Center Tell us a bit

about that

ldquoThat was one of the happiest times of mylife In many ways I got spoiled I was a working actor 11 months out of the yeartouring nationally seeing parts of the USI had never been to before doing plays Iloved and working with directors who werevehemently faithful and respectful to the text When I wasnrsquot on the road I was in residenceat the Blackfriars Playhouse in StauntonVirginia with many extraordinary actorsI was very lucky to be thererdquo

Three years ago you were diagnosed

with sarcoma How did you

overcome this enormous challenge

and return to the stage in 2014

ldquoThe only reason Irsquom still alive is because ofmy mother Lily and my wife Jocelynn AlsoI was fortunate that we caught it before it hadspread and it was on my leg and away fromany major organs

ldquoI am very grateful for my team of doctorsat UCSF who did an incredible job in mytreatment and follow-up care Irsquom glad to beback to workrdquo Yoursquore now due to play Richard III

with Marin Shakespeare Company

Howrsquos it going so far

ldquoAt this point Irsquom in the paperwork stage

of things A lot of reading the HenryVI s biographies of Richard as well asperformance history of the play itself Irsquomdoing a fair amount of limping around myapartment as well I canrsquot wait to get intorehearsals next weekrdquo Tell us about Marin Shakespeare

Company and what appealed to you

about working with them

ldquoRobert and Lesley [Currier MSCrsquos Artistic

Director and Managing Director] arefascinating people Their intelligence andhumour is contagious Without questionthere is a lot to be learned from themrdquo Richard IIIrsquos remains were discovered

in 2012 and reburied this year Is all

the new information about Richard

influencing your portrayal

ldquoYes and no My job isnrsquot to play the historicalRichard but the Richard that Shakespeare has

Aidan believesthat Richard IIIrsquosobsession withcontrol is whatcauses his downfall

ldquoPeter OrsquoToole wasmy hero He went to

RADA so I wanted to go there toordquo

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Crowning gloryAidan with MarinShakespearersquosRobert Currier

created Itrsquos helpful to know the facts of thesituation in order to gain insight into whathas been changed in Shakespearersquos versionof events

ldquoI met with a friend of mine who is a

retired surgeon who walked me through themedical information that has come to lighton Richardrsquos body and I will certainly usethat to inform my physical choicesrdquo Unlike many actors yoursquore the right

age to play the historical Richard III

Do you feel Richardrsquos relative youth

has been overlooked

ldquoI do Richard is a young man who believeshe is hardened by the experiences he andhis family endured during the War of theRoses and believes himself to be beyondhuman emotions and the lsquorestrictionsrsquo of aconscience He isnrsquot He pays the bill for thehorrible things he does That lack of self-knowledge is not exclusive to youth but I feelit makes him more sympathetic and relatableto an audiencerdquo Some people think Richard III shows

Shakespeare delivering a highly

effective piece of Tudor propaganda

Where do you stand on thatldquoI think Shakespeare has a soft spot foroutsiders and underdogs Although his playssometimes work within the confines of thebiases of Elizabethan society he canrsquot help butmake his lsquovillainsrsquo fascinating human beings

For as horrible as Richard is itrsquos amazing tosee how audiences relate and respond to himrdquo Which other important themes do

you feel Shakespeare deals with in

the playldquoThe history plays are full of extraordinarypeople who waste their lives and intelligence who sacrifice their humanity in pursuit of thecrown Itrsquos still happening today What is theattraction of power Richard never pauses tothink of why he wants the crown or if hersquodbe any good as king Turns out hersquos not butitrsquos this bizarre obsession with control thatpropels him to kill everyone off thatrsquos in his way Itrsquos also fascinating that the one characterthat is consistently kind to Richard is hisfather York

ldquoI think an argument can be made thatRichard in his warped way is trying to liveup to the image he has of his father Ofcourse York is dead and gone by the timeRichard III begins but you can glean a lotabout Richardrsquos inner workings in the way hespeaks about his father Of course itrsquos foolishto try to answer questions that Shakespearedoesnrsquot and Irsquom not trying to say this solvesa mystery but I think itrsquos interesting Itrsquos only

an element itrsquos not the answerrdquo Richard III is listed as a historical

play in the First Folio but in the

quarto edition it is termed a tragedy

Which category would you put the

play in and why

ldquoI think of the history plays from Richard II to Richard III as one vast play an epic thatencompasses all the categories I think if youlook at Richardrsquos progression through those

plays you see a great mind warped by the War of the Roses and that certainly adds tothe tragic element I think of Richard III asthe final chapter of a great epicrdquo

Aidan OrsquoReilly stars in Marin ShakespeareCompanyrsquos Richard III from 4-27 September

Aidan OrsquoReilly

SHAKESPEARE magazine 37

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Scotland Shakes

SHAKESPEARE magazine 39

Bonnie Prince

Brian Fergusonas Hamlet in theCitizens Theatre

production Photoby Tim Morozzo

Billy William Shakespeare is undoubtedly Englandrsquos

Bard But how is he viewed north of the border

Our Caledonian correspondent surveys the state

of Shakespeare in Scotland and meets esteemed

outdoor theatre company Bard in the Botanics

Words Paul F Cockburn

T owards the end of May thisyear a BBC Scotland afternoon

news bulletin surprisinglyturned its attention to aforthcoming production of

ldquoone of William Shakespearersquos best lovedplaysrdquo ndash A Midsummer Nightrsquos DreamHowever this particular production wasnrsquotconsidered newsworthy because it came froman amateur group based in Dumfries andGalloway Not even that the CrossmichaelDrama Club were one of just seven amateurScottish groups taking part in the Royal

Shakespeare Companyrsquos Open Stages project which aims to help amateur companies

extend their repertoiresNo the lsquohookrsquo was how this newproduction was Shakespeare ldquobut no asyou micht ken itrdquo Because it had beenreimagined in Scots as A MidsimmerNichtrsquos Dreme

As it happens writer John Burns saysthat his principle reason for translating AMidsimmer Nichtrsquos Dreme was simply theintuition that it being in Scots would workto the benefit of the production ldquoItrsquos not

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Scotland Shakes

40 SHAKESPEARE magazine

so much that 16th century English canrsquot docertain things more that using Scots brings itcloser to a Scottish audience and to audiences who might think Shakespeare too fancyrdquo hesays ldquoI feel too that Scots can catch the sheerphysical power of Shakespearersquos language He writes lines you really feel physically when

you say them out loud My intention was touse Scots to produce a text that was actableand which would be accessible and enjoyablefor the audience and the Scots was a majorpart of thatrdquo

Arguably translating Shakespeare intoScots ndash viewed by many as a distinct languagefrom English ndash is just one way of finding thecontinued relevancies of Shakespearersquos writing with the here and now Certainly John Burns was keen to see if Scots ldquocould match the way

Shakespeare switches tonehellip from broad attimes bawdy humour to moments that aremore serious or even sinisterrdquo

Yet there is a wider perspective whether wersquore discussing translation into Scots orsaying Shakespearersquos words with a Scottishaccent Willy Maley and Andrew Murphyin their introduction to Shakespeare andScotland (published by Manchester UniversityPress in 2004) go as far as describing thetranslation of Shakespearersquos Macbeth into

Scots as ldquoa patriotic actrdquo not least becauseof ldquothe political commitment implicit intranslating from English to Scots reversing

the dominant dubbing practice infi

lmsrdquoGlasgow-based novelist and playwright Alan Bissett ndash who actively campaigned fora Yes vote during last yearrsquos IndependenceReferendum ndash has since written about howsince the 1970s Scottish theatre had ldquoadeep engagement with the shifting beastof Scottish politicsrdquo Although Bissett wasfocusing primarily on original works byScottish playwrights and directors itrsquos worthpointing out that Shakespeare ndash despite therebeing absolutely no evidence to prove he evertravelled north of Carlisle ndash has played hisown part in this

As Maley and Murphy point outldquoScotlandhellip never had precisely the samerelationship with the Bard as England hasbut has experienced a fraught process ofappropriation incorporation and resistancerdquoIn part this is because Shakespeare ndash in hislatter career ndash was among the first lsquoBritishrsquo writers Many of his later plays ndash Cymbeline King Lear even Hamlet ndash were produced

A tartan-cladAntipholus andDromio in Bard inthe Botanicsrsquo TheComedy of Errors

Brian FergusonrsquosHamlet CitizensTheatre productionPhoto by TimMorozzo

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under the patronage of Scotlandrsquos King JamesVI (aka James I of England) Each in theirown way can be said to touch on ldquothe matterof Britainrdquo the complex relationship between

the constituent elements of Jamesrsquos newlsquounitedrsquo kingdom which the Stuart monarch was determined to see joined into oneat never quite happened of course

Even after the 1707 Act of UnionScotland retained its own legal educationaland religious systems along with anaccompanying sense of Scottish identity ndash which survived even the height of the Britishempire Yet from the 1970s on there havebeen notable changes in how Shakespeareis treated by Scotlandrsquos producing theatrecompanies Several years ago GlasgowrsquosCitizenseatre delivered a powerful Romeoand Juliet in part because of their decision toset the action in a present-day sectarian Westof Scotland ndash with accents to match

ldquoEnglish-accented Shakespeare carriesa specific resonance in Scotland one thatdirectors usually choose to avoidrdquo pointsout Mark Fisher a freelance journalist criticand author of the forthcoming book How toWrite Abouteatre

ldquoIrsquom not sure exactly when attitudesstarted to change but Irsquod say the argumentin favour of Scottish-accented productionshad been pretty much won by the 1990sBy that time companies such as Raindogand directors such as Hamish Glen hadbeen making a point of casting very Scottishproductions of Shakespearerdquo

One example of how things hadprogressed even by 1992 was the late KennyIrelandrsquos production of A Midsummer

Nightrsquos Dream his first as Artistic Directorat Edinburghrsquos Royal Lyceum ldquoHe castthe mechanicals with Scottish accents andeveryone else with English accentsrdquo MarkFisher explains ldquois I said in my review wasa fundamental error ndash or some such phrasee message it sent out was that people withScottish accents were foolish figures of fun whereas people with English accents wereserious figures of respect

ldquoIreland reacted furiously to my review

and made the case that he had based thecasting of the mechanicals around (the actor) Andy Gray who has a Scottish accent Inother words the meaning I inferred hadnot been deliberate I think itrsquos true to sayhowever that Ireland never cast a Shakespearelike that againrdquo

Gordon Barr is Artistic Director of

Glasgow-based Bard in the BotanicsScotlandrsquos only professional Shakespearecompany (see following pages)

ldquoWersquove never gone out of our way tomake Scottish versions of these texts norhave we gone out of our way to have classicaltraditional voicesrdquo he says ldquoMost of our coreactors have made their careers up here so wethink of them as Scottish actors

ldquoat is important to us to not overlylook outwards for the acting company As

much as possible we work with people who are based in Scotland Wersquore regularlyproducing Shakespeare here and we want tobe a part of the training to ensure that there isa range of strong classical actors hererdquo

Citizens Theatrewwwcitzcouk

Owen Whitehawas the Fool andDavid Hayman asLear in CitizensTheatrersquos King Lear Photo by TimMorozzo

Scotland Shakes

SHAKESPEARE magazine 41

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Bard in theBotanicsrsquo As You Like

It takes Rosalind andOrlando into theopen air

ldquoTouring is something that we have wanted to do foryears but was somethingthat we could not afford

to do without fundingrdquo says Gordon Barr Artistic Director of Scotlandrsquos only professionaloutdoor Shakespeare festival Bard in theBotanics If therersquos any irony attached tothe companyrsquos first major tour of Scotland which took place in early 2015 itrsquos that theperformances of their acclaimed Romeo and Juliet ndash featuring a cast of five ndash were playedexclusively indoors

ldquoNobody is touring classical theatre in

Scotland at the minute so itrsquos importantto usrdquo Barr adds ldquoOur work is so muchabout accessibility One of the joys of beingoutdoors is that people come to see the work who wouldnrsquot buy a ticket for a theatre Ifyou can bring a picnic sit out on the grass while watching the show it feels easier moreaccessible But people canrsquot come from Thursoto Glasgow for a night just to see a productionof Shakespeare They should be able to see itin Thurso So that is kind of where the urge totour came fromrdquo

Bard in the Botanics has presented outdoorShakespeare within the grounds of GlasgowrsquosBotanic Gardens since 2003 This yearrsquoslsquoUnlikely Wondersrsquo season presented newproductions of Loversquos Labourrsquos Lost The Merchant of Venice Richard II and A Midsummer Nightrsquos Dream in lsquoreprsquo between24 June and 1 August

The companyrsquos founder Scott PalmerBarr explains had done a lot of his training atthe Oregon Shakespeare Festival one of the

biggest in North America ldquoWith the kindof drive and enthusiasm that only Americanshave he managed to convince the entire cityof Glasgow that outdoor Shakespeare would work and that the weather wasnrsquot going to be

a problemrdquoTwo years later Palmer moved on and Barr

ndash originally involved as a director ndash succeededhim as Artistic Director ldquoIf anyone then hadsaid that I would end up spending 12 yearsrunning an outdoor Shakespeare festival I wouldnrsquot have believed themrdquo he says in hisoffice hidden behind some of the Botanicsrsquogardening sheds ldquoI very quickly fell in love with it once I started working here Despiteall the trials and tribulations that outdoortheatre in Scotland brings with it therersquos just

something magical and special about it Itrsquos a very close-knit company and thatrsquos sort of keptus all here as long as we have beenrdquo

While the annual summer season ofShakespeare plays in the Botanics will remainat the centre of what the company does ndashldquoOtherwise Bard in the Botanics becomesa rather strange namerdquo ndash Barr is very much

Outof theGarden

This year has seen Glasgowrsquos Bard in the Botanicsdo something completely unexpected They wentout on a tour of ndash whisper it ndash indoor venueshellip

Scotland Shakes

42 SHAKESPEARE magazine

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Scotland Shakes

SHAKESPEARE magazine 43

focused on building on the touring side ldquoBecause it was our first ever tour we

did end up taking Romeo and Juliet to theestablished Scottish touring circuitrdquo he addsldquoIt takes a while to build up relationships with the smaller venues thatrsquos going to bean ongoing process for us Even so we weretaking Romeo and Juliet to places like Mulland Stranraer ndash communities and venues thathavenrsquot had a lot of classical theatre comingthrough themrdquo

The choice of play was deliberate too ldquoIt was a production that was ready to go whichhad received five star reviews and sold out itsextended run in the Botanics in 2012 So weknew that the work was good but therersquos nodoubt that for a first tour we wanted to makeit easier for the venues to sell it Most venuesknow they can find an audience for Romeo and Juliet rdquo

In time he hopes that audiences aroundthe rest of Scotland will come to trust the Bardin the Botanics name sufficiently to take on theless familiar plays

ldquoYou just donrsquot know how quickly acommunity is going to turn out for Henry IV yetrdquo he says ldquoHopefully three or four toursdown the line theyrsquore going to turn out forBard in the Botanics ndash and if it happens to be

Henry IV well thatrsquos greatrdquoGiven their reimagining of A MidsummerNightrsquos Dream as a 1920s burlesque musicalis there a particular Bard in the Botanicsapproach to Shakespeare

ldquoOur kind of unofficial motto is lsquoBe BoldBe Braversquordquo Barr says ldquoIf wersquore continuingto stage these plays around 400 years afterShakespearersquos death I think therersquos an urgencyto ask lsquoWhyrsquo It is important to questionlsquoWhat is the story that we want to tellrsquo I wantto see how these plays intersect with historyand todayrsquos society not to present museumpieces

ldquoItrsquos always with an eye to try to releasesomething thatrsquos within the textrdquo Barrinsists ldquoWersquore not remotely interested ininnovation for innovationrsquos sake The playsare masterpieces thatrsquos essentially why wersquorestill doing them 400 years later But to revealsomething thatrsquos unexpected or new thatrsquosimportant to usrdquo

Bard in the Botanics

wwwbardinthebotanicscouk

Rosalind and Audreyin the forest Bardin the Botanicsrsquo As You Like It

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Shakespeare at the Tobacco Factory stf 2016 Seasonco-production with Tobacco Factory Theatres

HAMLETBy William Shakespeare

Directed by Andrew Hilton

Main run Thu 11 February ndash Sat 26 March 2016

In repertoire with Allrsquos Well That Ends WellMon 25 ndash Wed 27 April Sat 30 April 2016

The most famous play in world drama Hamlet

turns a new face to every decade So many

elements - political madness sex murder ndash all

brought together in a drama that is both a thriller

and the profoundest meditation on our human

condition

ldquoThrilling workrdquo The Guardian on Romeo amp Juliet

ldquoBullseyerdquo WhatsOnStage on Romeo amp Juliet

Shakespeare at the Tobacco Factory Friends Priority Booking opens Wed 23 September 10am

wwwstf-theatreorguk

Tobacco Factory Theatres Members Priority Booking opens Wed 16 September 10am

wwwtobaccofactorytheatrescom

Public Booking opens Wed 30 September 10am

Tobacco Factory Box Office 0117 902 0344

ALLrsquoS WELL THAT ENDS WELLBy William Shakespeare

Directed by Andrew Hilton

Main run Thu 31 March ndash Sat 23 April 2016

In repertoire with Hamlet

Thu 28 ndash Fri 29 April Sat 30 April

A young woman using skills bequeathed herby her father saves the French Kingrsquos life and

is rewarded with the right to choose her own

husband But what if the chosen one wonrsquot play

the game How can she get him into bed How

can she make him love her

ldquo There is something approaching real

magic hererdquo The Arts Desk on The School for Scandal

P h o t o s M

a r k D o u e t

Dorothea MyerBennett in Richard III

Benjamin Whitrowand Julia Hills in The

School For Scandal

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Having conquered

Hollywood and vanquished

the global entertainment

industry video games now

on our culture So where

does the Bard stand in all of

this We sent a Shakespeare

scholar to investigatehellip

Words Andrew Bretz

Shakespeare video games

46 SHAKESPEARE magazine

T eGamersquos A oot Silent Hill is one

big-name gamewhich includesShakespearereferences

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Shakespeare video games

SHAKESPEARE magazine 47

German cardboard Macbeth datingfrom the early1800s

Hamlet reimaginedRyan Northrsquos To Be

Or Not To Be

W

hen you walk intothe wood panelled Victorian Gothicismof the Gail Kern Paster

Reading Room at theFolger Shakespeare Library in WashingtonDC video games are probably the lastthing on your mind Buried deep withinthe archives however are a set of fragilecardboard figures printed in Germany in theearly 1800s representing each of the maincharacters of Macbeth

Nineteenth century German children would play with these figures on smallcardboard stages no bigger than a dollhouseey could replicate the story as it was toldin Shakespeare or use their imagination tochange the ending letting Lady Macbethsurvive and bringing Duncan back from thedead if they so chosee limits of the game were the limits of their imagination

Today the lsquogamificationrsquo of Shakespeareis a big business from Ryan Northrsquos choose-your-own-adventure edition of Hamlet To Be Or Not To Be to IDW Gamesrsquosupcoming Kill Shakespeare board gamebased on the comic of the same name

Gamifying Shakespeare is filtering intoschools libraries and the theatrical worldas well with the University of California atDavis the Stratford Festival in Ontario theGlobeeatre in London and the LondonMetropolitan Archives all experimenting with video game elements in exhibits productionsand research

Why video games In a sense this is thelogical next step in the media development ofShakespeare Hersquos everywhere in other media

books movies merchandise But videogamese answer for that depends on whoyou ask

StorytellingOccasionally individuals or publishinghouses develop video games that try to tellthe story of say Hamlet yet this is relativelyrare One example would be Elsinore a time-looping narrative adventure game set in the world of the play Players play the game as

Ophelia who wakes up knowing that in fourdays the entire court will be dead and shemust do something to stop ite problemis that she is stuck in a time loop reliving thesame four days over and over againat said Shakespearersquos presence in the

video game industry tends to be focused oncitation rather than adaptation of the playsat is video games for Xbox Playstationand other popular gaming systems often

just cite Shakespearersquos plays as a part of acommon cultural heritageese games donrsquotrestage say Hamlet but they quote the playIn these cases Shakespeare is used to establisha point of identification for the audience His writing tells the audience something aboutthe character or the situation

Given that audiences are supposedto be able to identify the quotations asShakespearean it is unsurprising that Hamlet is the most popular text for game designers to

cite Ine Elder Scrolls Online for instancea merchant NPC (non-player character)quotes Polonius when players interact sayingldquoNeither a borrower nor a lender berdquoe words establish the NPCrsquos role as a merchant while fitting the medieval world of thegame In the game LA Noire upon pickingup a fake shrunken head at a crime scene adetective leaps into high melodrama withldquoAlas poor Yorick I knew him Horatiordquoequotation and the clever voice acting establish

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Shakespeare video games

48 SHAKESPEARE magazine

the characterrsquos strait-laced yet macabre senseof humour

Sometimes citing Shakespeare is a partof a critique of a larger theme In the game Mass E ff ect the Elcor are a race of elephantinealiens who preface all statements with adescription of the emotion they are feelingand who speak in a slow monotonous drone As players interact with the expansive worldthey can discover a number of advertisementsfor an all-Elcor Hamlet e idea of theElcor actor ndash the ultimate in a flat woodenperformer ndash having to preface ldquoTo be or not

to berdquo with ldquomorose ruminationrdquo goes beyondthe simple humour of a bad Shakespeareperformance It subtly asks what it is aboutacting (and especially voice acting) that isvaluable

Shakespeare can appear in video gamesnot merely as a marker or contextualisationtool but as a part of a puzzle For example inthe game Silent Hill 3 players must arrange aset of Shakespeare anthologies on a bookshelfin an abandoned shopping mall in order to

proceed in the game At the hardest levelthe puzzle clue takes the form of a poemthat references all the major tragedies Romeoand Juliet King Lear Macbeth Othello andof course Hamlet e bloody nature of thetragedies fits with the bloody nature of theSilent Hill series of games which fall into thesurvival horror genre

Popular video games have also servedas the inspiration for games that engage with Shakespeare in a more direct way For

example Daniel Fischlin at the Universityof Guelph in Ontario Canada led a teamthat created a Flash game called rsquoSpeare Itrsquos

a scrolling arcade-style game suggesting thersquo80s hit Galaga which sees players identifyingand navigating through a series of enemies who turn into words upon being destroyede player progresses through the levelsby collecting the correct words to createShakespearean quotes learning Shakespeareantrivia along the way

ImmersionOne of the most exciting aspects of videogames is the ability to immerse the player inthe world of the game in a way that othermedia simply cannot do Being able to walkaround Prosperorsquos cell Julietrsquos balcony orto stand before the ghost of Hamletrsquos fatheras he cries out ldquoList list O listrdquo ndash theseexperiences are made possible through videogame technology

Students of Scenic Arts at the Universityof Hildesheim in Germany created Projekt ARIEL or SturmMOD in 2008 using a lsquomodrsquo(or modification) to the engine that runs

the game Far Cry 1 e performance artproject allowed users to experience Prosperorsquosisland interacting with certain parts andexploring others Players could walk aroundan imaginative rendition of Prosperorsquos cell and witness or interact with elements of the playincluding diff erent characters like CalibanProspero and Miranda

Four days to savethe Danish court

Elsinore

Another Hamlet reference this timein LA Noire

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Shakespeare video games

SHAKESPEARE magazine 49

Gina Bloom at the University of Californiaat Davis is presently spearheading a projectthat will be demonstrated in the lobby of theStratford Festival theatre in Ontario Canadathis summere project Play the Knave AShakespeare Performance Videogame lets usersdesign a virtual performance space and thenperform a scene from a Shakespeare playinhabiting this constructed space with anavatar As a Davis insider explains ldquoWe use akinect motion capture camera to capture theuserrsquos skeletal data so that players use theirentire bodies to control their avatarrsquos gesturesonscreen all the while reciting the lines from

Shakespearersquos scenerdquo is literally immersesthe players in the scene

Shakespearersquos Globe eatre in Londontook another tactic regarding immersionin the production of the game HemmingsrsquoPlay Company Hosted on the Playgroundportion of the Globersquos website and thusaimed at an audience of children the gamehas players taking on the role of Hemmingsan Elizabethan bear who leads a troupe oftheatrical animals such as Kit the Cat Dekker

the Dog and Slye the Foxe turn-based game leads players through

the vagaries of Elizabethan theatre practicefrom patronage to lost props and the plagueBy the end of the game players must earnenough money to rebuild the Globe after itburns down during a performance of HenryVIII

Also from Shakespearersquos Globe are twoinnovative video experiences created forchildren aged five to 11 e first Exploring

Shakespeare features two boys on a tour ofthe Globe theatre who sneak off to explorebackstage e video illustrates four plays

using short animations that are keyedto things the boys find backstage etechnology combines live action film andanimation to create an interactive touchablegame Filled with mini-games quizzes andinteresting facts about Shakespeare the gameallows players to click through the narrativeor to stop and learn more as they go along

e second video called Staging It usesthe same technology as the first film but thistime is for the 11-16 age group In this gamee Globe has filmed two actors performingfamous duologues from A MidsummerNightrsquos Dream and Macbeth on the Globestage Rather than shoot it once the actorshave performed their lines in diff erent ways(happy flirtatious defensive and so on)creating several diff erent clips per linePlayers can watch each of the clips and addtheir choice to a dynamic storyboard tobuild up their final scene Impressively theplatform allows for up to 1000000 diff erentcombinations of clips

Apps and Mini-GamesItrsquos when you start to look outside of therealm of popular video game platformslike Xbox or Playstation that Shakespeare

Silent Hill 3 Brush upyour Shakespeare ifyou want to survive

Hemmingsrsquo PlayCompany fromShakespearersquosGlobe

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Shakespeare video games

50 SHAKESPEARE magazine

really starts to pop up wherever you looke ubiquity of Shakespeare is especiallynoticeable when you start to look at apps andmini-games designed for phones and tablets

In 2012 Big Fish Games released aniPhone and iPad game called Hamlet that featured all the main characters ofShakespearersquos play but transposed them intoa save-the-princess narrative puzzle game A time traveller lands in Denmark andaccidentally kills Hamlet and so players mustcomplete his journey for him saving Opheliaand killing Claudiuse Shakespeareancontent is minimal and heavily adapted andyet it fits with the puzzle format in whichShakespeare tends to be found in videogamese Chronicles of Shakespeare Romeo amp

Juliet ande Chronicles of Shakespeare A Midsummer Nightrsquos Dream are lusciously-illustrated puzzle games for the PC In themplayers act as one of the characters from theplays gathering items and clues through aShakespearean environment

Among the literally thousands of appsrelated to Shakespeare that can be found forthe iPad or Android tablet are

e Shakespearean Insult Creator which generates invectives drawn from a wholly Shakespearean vocabulary So nexttime you want to call someone a jerk trysomething more like ldquoou fusty follyfallenfustilarianrdquo

e Shakespeare Translator whichtranslates ldquonormal English words and phrasesinto the words of Shakespeare himselfrdquo

e Shakespeare Fortune Cookie which provides short quotes from the plays

and a small trivia game Shakespeare or Die a game that

scrambles the words of famous quotationsfrom the plays and asks you to identify theplay and character who spoke the line If youmake a mistake however beware the witchesese apps are either explicitly games or

they are coming out of a game-like impulse tomake Shakespeare more accessible to everyone with an internet connection

Brave New WorldsIn a world where Shakespeare is an industrycounted in the millions of dollars per yearit is so easy to forget that Shakespearersquos playsare just that ndash playsere is a sense of joyand fun and happiness embedded in theexperience of watching them Games are oneof the ways that people over the centuries

have tried to recapture that elusive sense ofplayfulness within Shakespeare So it makesperfect sense that now with the advent ofdigital technologies Shakespeare is movinginto the digital world with a vengeance

From big studio games likee ElderScrolls to small apps that can be downloadedfor free from talking bears to immersiveperformance experiences Shakespeare iseverywhere in video games Rather than beingan undiscovered country into which the Bard

is only just beginning to emerge games havein fact engaged with Shakespeare and his works for hundreds of years And they willprobably continue to do so for hundreds ofyears to come

rsquoSpeare is a scrollingarcade-stylegame with addedShakespeare trivia

Hamlet is aShakespeare-themed puzzle fromBig Fish Games

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Meet thy makers

Helen Mears fell into bardolatryduring her teenage years and has

never recovered She is a volunteersteward at Shakespearersquos Globe

which ensures a regular diet of theBard She teaches English Film andMedia at Suffolk New College and isa specialist in teaching Shakespeareusing active methods Her favouriteShakespearean actor is Jamie Parker

and her favourite plays are the SecondHistory Tetralogy She hopes to

finish her Masters in the AdvancedTeaching of Shakespeare very soonFind her on Twitter hipster_hels

Paul F Cockburn is an Edinburgh-based freelance magazine journalist who specialises in writing about

arts and culture equality issues andpopular science Hersquos sufficiently

grey-haired for his English Literaturetraining to have sort of overlapped

with The BBC Television Shakespeareproject saving at least some of the

plays from death by academiaFind him on Twitter paulfcockburn

Jen Richardson first fell in love withShakespeare as a 15-year-old schoolgirl

ldquoHe got under my skin and hersquos still theretodayrdquo After training with a Manchester-based drama tutor she went on to pursuean acting career Drama remains a greatinterest but her focus is now on sharing

her passion for Shakespeare throughher writing In her spare time Jen is

generally down in Stratford-upon-Avonsitting on her favourite bench behind

Holy Trinity ChurchFind her on Twitter The_JenJen

Andrew Bretz is a sessional instructorof English Literature and Drama

specialising in early modern dramaHe has taught at Wilfrid LaurierUniversity the University of Guelph

Brock University and McMasterUniversity For the past two years he

has taught a special summer intensiveat Ontariorsquos Stratford Festival His PhDdissertation was on the representationof sexual violence on the early modern

stage Find him on TwitterAndrewBretz001

Just some of the contributors to this issue of Shakespeare Magazine

Rosalind Lyons is a painter whohas exhibited widely in both mixedand solo shows with work in UK

and international private collections A life-long love of Shakespeare isreflected in many of her paintings

and a particular recent focus isShakespearersquos Globe theatre where shespent a period as artist-in-residenceShe is currently studying for a PhD

in Painting and ShakespeareanTheatre at Anglia Ruskin University

in CambridgeFind her on Twitter roslyons

52 SHAKESPEARE magazine

Contributors

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Page 29: Shakespeare Magazine 08

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For UK artist Rosalind Lyons the Bard is a

constant presence in her creative life She tells

us how Shakespeare inspired the haunting and

dreamlike works that adorn these pages

Words and paintings by Rosalind Lyons

Rosalind Lyons

SHAKESPEARE magazine 29

Left TheRoaring Boys

PAINTINGSHAKESPEARE

S hakespeare has long been at the heart ofmy work sometimes directly and obviouslyin the subjects and often in the titlesBut always Shakespearersquos words charactersand stories are there in my head when Iam painting ndash a perpetual conscious andunconscious presence

My style echoes that of the Renaissancepainters and Elizabethan portraits andthese influences combined with a life-long love of Shakespeare made my firstvisit to Shakespearersquos Globe pivotal Iexperienced a powerful sense of connectionand recognition Here suddenly ideasand themes with which I had been so longpreoccupied were brought to life

I subsequently gained access to theGlobe to draw and later spent some time

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as Artist in Residence thereat experienceprompted more in-depth exploration notonly of Shakespeare and painting but of therelationship between painting and theatreere are of course the strong visualconnections ndash both are spaces for spectacleand illusion But also compelling ideas oftransformation imagination storytelling andidentity And overall the theme of ambiguitye blurring of boundaries between realityand fiction male and female light andshadow past and present I am fascinated byhow we respond to history how we re-presentand re-imagine the past And the figures inmy paintings are imagined as belonging toboth now and then ndash flitting back and forthacross the threshold between past and presentbetween Shakespearersquos time and our own

modern worldI have painted some specific characters

from Shakespeare but many subjects ofmy paintings are anonymouse figuresare unknown their place purpose role is amysteryis anonymity is unsettlingereare clues in the setting in the costumes ndash orperhaps I should just say in the clothes theyare wearing ndash but the context is not obviousI am fascinated by the dramatic convention ofcross-dressing ndash and particularly the inherent

confusion as with Rosalind ( As You Like It )and Viola (Twelfth Night ) in the idea of aboy playing a girl playing a boy Many of thecharacters I invent are androgynous theirgender and age uncertainis ambiguityof identity interests me in the context ofvisual illusion and theatrical transformationthe idea of inbetween-ness and somethingunresolved

Like theatre my paintings are concerned with inventing characters and the creation

Right No MoreYielding But A

Dream

Roaslind Lyons

30 SHAKESPEARE magazine

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of an imaginary world and I am particularlyattracted to the fools fairies and witchesIn A Midsummer Nightrsquos Dream the fairiesrsquoactions may seem malevolent or benign or just mischievous but there is definitely a dark

side an underlying sense of threate Fool too is intriguing Shakespearersquosfools frequently describe themselvesor are referred to as a nobody but areunquestionably much moree fool is anoutsider concerned with but at the same timeseparate from the story He ndash or sometimesshe ndash doesnrsquot quite belong anywhere butseems to exist on the boundary between thefamiliar and the uncanny

I am attracted to the strange to mysteryand shadows and try to express through myimages a strong feeling that it could be thator maybe something else As Orsino says atthe conclusion of Twelfth Night ldquoA naturalperspective that is and is notrdquo While makinga painting and even when it is finished Idonrsquot know really who my characters are ndashthey remain elusive But I like not knowingand ultimately meanings always change anddepend on individual perceptions

My experience at the Globe led to aparticular fascination with the ambiguous and

protean quality of the theatrical performerhow their identity transforms and fluctuatesI was attracted by this when watching

Rosalind Lyons

SHAKESPEARE magazine 31

Above A MidwinterNightrsquos Dream

Right Three Fools

Far right FollowingDarkness

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rehearsals observing actors shift between selfand impersonation between diff erent realitiesand identities When they are not acting theyndash metaphorically and often literally ndash melt

into the shadows I am interested too in thephysical and symbolic threshold between lsquoonrsquoand lsquooff rsquo-stage the transformation inherentin an actor moving from the wings onto thestage assuming another self and anotheridentity Particularly evocative is the fact thatactors were colloquially known as shadowsin the Elizabethan playhouses ndash suggestingsomething unknowable and insubstantialIn the Prologue to Henry V Shakespeare hasthe Chorus describe the players as lsquociphersrsquoimplying deception and secrecy

Artists in the past who have tackledShakespeare have generally produced imagesthat directly illustrate the text or representfamous actors or scenes from a particularperformance Today as well as on the stageShakespearersquos plays are frequently re-imaginedin very successful film and TV adaptationsbut I have struggled to find more than ahandful of contemporary fine artists whohave engaged with Shakespeare on any levelPerhaps Shakespeare as a subject is seen

by some as too traditional too lsquopopularrsquoor simply just too lsquooldrsquo But in the theatreand in literature there is an ever-increasingenthusiasm for innovative interpretationsof the plays and for me Shakespeare is aconstant inspiration

e Prologue of Henry V also urges theaudience to ldquoPiece out our imperfections withyour thoughtsrdquo to liberate the imaginationand create another kind of reality to shapeour own fantasies within the ldquowooden Ordquo of

the theatre In my paintings I endeavour todo the same

Explore the work of Rosalind Lyons atwwwrosalindlyonscom

Above These Two CreaturesBelow Therersquos Magic In Thy Majesty

Roaslind Lyons

32 SHAKESPEARE magazine

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$amp( ) +-01

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Aidan OrsquoReilly

34 SHAKESPEARE magazine

Looking forRichard AidanOrsquoReilly is playingShakespearersquosbaddest monarch

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Aidan OrsquoReilly

SHAKESPEARE magazine 35

You are legally blind having been

diagnosed with retinoblastoma as an

infant How did this impact on your

acting aspirations and early career

ldquoMy parents did a good job raising me Inever grew up thinking of it as a handicap orthinking it could hold me back from what I wanted to do I couldnrsquot play sports at all soI think my parents were grateful that I hadsomething that I was passionate about from avery young age

ldquoI went to a public elementary school with a program designed for the blind so itfelt very natural for me to be the way that I was And acting has always been part of thatrdquo

You went to RADA in London Was

there a reason why you wanted to

train in England and not in the US

ldquoItrsquos always been an ambition of mine to

travel as far and wide as possible Also myhero growing up was Peter OrsquoToole ndash Iread his autobiography in high school andlearned he had gone to RADA and decided I wanted to go there too So I auditioned therenot knowing that RADA is arguably thebest drama school in the English-speaking world Consequently I was quite relaxed atthe audition which is probably why I gotin My ignorance can sometimes serve me well Going to RADA was a life-changing

Aidan OrsquoReilly is an actor with an

inspiring story Legally blind since he

was six months old he forged a passionfor drama at an early age Aidan went

on to gain a BA with honours from

Londonrsquos Royal Academy of Dramatic

Art before touring for three years with

the American Shakespeare Center

In 2012 Aidan was diagnosed with

sarcoma a rare cancer He bounced

back in 2014 after intensive treatment

and is now cancer-free We spoke to

Aidan as he prepared to play the title

role in Richard III for Californiarsquos Marin

Shakespeare Company We asked himto share his story and to give us his

take on one of Shakespearersquos most

fascinating characters

Interview by Jen Richardson

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Aidan OrsquoReilly

36 SHAKESPEARE magazine

experience I was lucky enough to havecontact with brilliant professors and Irsquom stillin awe of the students I went to school withI wouldnrsquot trade that experience for anythingrdquo After graduating from RADA you

went on the road with the American

Shakespeare Center Tell us a bit

about that

ldquoThat was one of the happiest times of mylife In many ways I got spoiled I was a working actor 11 months out of the yeartouring nationally seeing parts of the USI had never been to before doing plays Iloved and working with directors who werevehemently faithful and respectful to the text When I wasnrsquot on the road I was in residenceat the Blackfriars Playhouse in StauntonVirginia with many extraordinary actorsI was very lucky to be thererdquo

Three years ago you were diagnosed

with sarcoma How did you

overcome this enormous challenge

and return to the stage in 2014

ldquoThe only reason Irsquom still alive is because ofmy mother Lily and my wife Jocelynn AlsoI was fortunate that we caught it before it hadspread and it was on my leg and away fromany major organs

ldquoI am very grateful for my team of doctorsat UCSF who did an incredible job in mytreatment and follow-up care Irsquom glad to beback to workrdquo Yoursquore now due to play Richard III

with Marin Shakespeare Company

Howrsquos it going so far

ldquoAt this point Irsquom in the paperwork stage

of things A lot of reading the HenryVI s biographies of Richard as well asperformance history of the play itself Irsquomdoing a fair amount of limping around myapartment as well I canrsquot wait to get intorehearsals next weekrdquo Tell us about Marin Shakespeare

Company and what appealed to you

about working with them

ldquoRobert and Lesley [Currier MSCrsquos Artistic

Director and Managing Director] arefascinating people Their intelligence andhumour is contagious Without questionthere is a lot to be learned from themrdquo Richard IIIrsquos remains were discovered

in 2012 and reburied this year Is all

the new information about Richard

influencing your portrayal

ldquoYes and no My job isnrsquot to play the historicalRichard but the Richard that Shakespeare has

Aidan believesthat Richard IIIrsquosobsession withcontrol is whatcauses his downfall

ldquoPeter OrsquoToole wasmy hero He went to

RADA so I wanted to go there toordquo

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Crowning gloryAidan with MarinShakespearersquosRobert Currier

created Itrsquos helpful to know the facts of thesituation in order to gain insight into whathas been changed in Shakespearersquos versionof events

ldquoI met with a friend of mine who is a

retired surgeon who walked me through themedical information that has come to lighton Richardrsquos body and I will certainly usethat to inform my physical choicesrdquo Unlike many actors yoursquore the right

age to play the historical Richard III

Do you feel Richardrsquos relative youth

has been overlooked

ldquoI do Richard is a young man who believeshe is hardened by the experiences he andhis family endured during the War of theRoses and believes himself to be beyondhuman emotions and the lsquorestrictionsrsquo of aconscience He isnrsquot He pays the bill for thehorrible things he does That lack of self-knowledge is not exclusive to youth but I feelit makes him more sympathetic and relatableto an audiencerdquo Some people think Richard III shows

Shakespeare delivering a highly

effective piece of Tudor propaganda

Where do you stand on thatldquoI think Shakespeare has a soft spot foroutsiders and underdogs Although his playssometimes work within the confines of thebiases of Elizabethan society he canrsquot help butmake his lsquovillainsrsquo fascinating human beings

For as horrible as Richard is itrsquos amazing tosee how audiences relate and respond to himrdquo Which other important themes do

you feel Shakespeare deals with in

the playldquoThe history plays are full of extraordinarypeople who waste their lives and intelligence who sacrifice their humanity in pursuit of thecrown Itrsquos still happening today What is theattraction of power Richard never pauses tothink of why he wants the crown or if hersquodbe any good as king Turns out hersquos not butitrsquos this bizarre obsession with control thatpropels him to kill everyone off thatrsquos in his way Itrsquos also fascinating that the one characterthat is consistently kind to Richard is hisfather York

ldquoI think an argument can be made thatRichard in his warped way is trying to liveup to the image he has of his father Ofcourse York is dead and gone by the timeRichard III begins but you can glean a lotabout Richardrsquos inner workings in the way hespeaks about his father Of course itrsquos foolishto try to answer questions that Shakespearedoesnrsquot and Irsquom not trying to say this solvesa mystery but I think itrsquos interesting Itrsquos only

an element itrsquos not the answerrdquo Richard III is listed as a historical

play in the First Folio but in the

quarto edition it is termed a tragedy

Which category would you put the

play in and why

ldquoI think of the history plays from Richard II to Richard III as one vast play an epic thatencompasses all the categories I think if youlook at Richardrsquos progression through those

plays you see a great mind warped by the War of the Roses and that certainly adds tothe tragic element I think of Richard III asthe final chapter of a great epicrdquo

Aidan OrsquoReilly stars in Marin ShakespeareCompanyrsquos Richard III from 4-27 September

Aidan OrsquoReilly

SHAKESPEARE magazine 37

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Scotland Shakes

SHAKESPEARE magazine 39

Bonnie Prince

Brian Fergusonas Hamlet in theCitizens Theatre

production Photoby Tim Morozzo

Billy William Shakespeare is undoubtedly Englandrsquos

Bard But how is he viewed north of the border

Our Caledonian correspondent surveys the state

of Shakespeare in Scotland and meets esteemed

outdoor theatre company Bard in the Botanics

Words Paul F Cockburn

T owards the end of May thisyear a BBC Scotland afternoon

news bulletin surprisinglyturned its attention to aforthcoming production of

ldquoone of William Shakespearersquos best lovedplaysrdquo ndash A Midsummer Nightrsquos DreamHowever this particular production wasnrsquotconsidered newsworthy because it came froman amateur group based in Dumfries andGalloway Not even that the CrossmichaelDrama Club were one of just seven amateurScottish groups taking part in the Royal

Shakespeare Companyrsquos Open Stages project which aims to help amateur companies

extend their repertoiresNo the lsquohookrsquo was how this newproduction was Shakespeare ldquobut no asyou micht ken itrdquo Because it had beenreimagined in Scots as A MidsimmerNichtrsquos Dreme

As it happens writer John Burns saysthat his principle reason for translating AMidsimmer Nichtrsquos Dreme was simply theintuition that it being in Scots would workto the benefit of the production ldquoItrsquos not

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Scotland Shakes

40 SHAKESPEARE magazine

so much that 16th century English canrsquot docertain things more that using Scots brings itcloser to a Scottish audience and to audiences who might think Shakespeare too fancyrdquo hesays ldquoI feel too that Scots can catch the sheerphysical power of Shakespearersquos language He writes lines you really feel physically when

you say them out loud My intention was touse Scots to produce a text that was actableand which would be accessible and enjoyablefor the audience and the Scots was a majorpart of thatrdquo

Arguably translating Shakespeare intoScots ndash viewed by many as a distinct languagefrom English ndash is just one way of finding thecontinued relevancies of Shakespearersquos writing with the here and now Certainly John Burns was keen to see if Scots ldquocould match the way

Shakespeare switches tonehellip from broad attimes bawdy humour to moments that aremore serious or even sinisterrdquo

Yet there is a wider perspective whether wersquore discussing translation into Scots orsaying Shakespearersquos words with a Scottishaccent Willy Maley and Andrew Murphyin their introduction to Shakespeare andScotland (published by Manchester UniversityPress in 2004) go as far as describing thetranslation of Shakespearersquos Macbeth into

Scots as ldquoa patriotic actrdquo not least becauseof ldquothe political commitment implicit intranslating from English to Scots reversing

the dominant dubbing practice infi

lmsrdquoGlasgow-based novelist and playwright Alan Bissett ndash who actively campaigned fora Yes vote during last yearrsquos IndependenceReferendum ndash has since written about howsince the 1970s Scottish theatre had ldquoadeep engagement with the shifting beastof Scottish politicsrdquo Although Bissett wasfocusing primarily on original works byScottish playwrights and directors itrsquos worthpointing out that Shakespeare ndash despite therebeing absolutely no evidence to prove he evertravelled north of Carlisle ndash has played hisown part in this

As Maley and Murphy point outldquoScotlandhellip never had precisely the samerelationship with the Bard as England hasbut has experienced a fraught process ofappropriation incorporation and resistancerdquoIn part this is because Shakespeare ndash in hislatter career ndash was among the first lsquoBritishrsquo writers Many of his later plays ndash Cymbeline King Lear even Hamlet ndash were produced

A tartan-cladAntipholus andDromio in Bard inthe Botanicsrsquo TheComedy of Errors

Brian FergusonrsquosHamlet CitizensTheatre productionPhoto by TimMorozzo

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under the patronage of Scotlandrsquos King JamesVI (aka James I of England) Each in theirown way can be said to touch on ldquothe matterof Britainrdquo the complex relationship between

the constituent elements of Jamesrsquos newlsquounitedrsquo kingdom which the Stuart monarch was determined to see joined into oneat never quite happened of course

Even after the 1707 Act of UnionScotland retained its own legal educationaland religious systems along with anaccompanying sense of Scottish identity ndash which survived even the height of the Britishempire Yet from the 1970s on there havebeen notable changes in how Shakespeareis treated by Scotlandrsquos producing theatrecompanies Several years ago GlasgowrsquosCitizenseatre delivered a powerful Romeoand Juliet in part because of their decision toset the action in a present-day sectarian Westof Scotland ndash with accents to match

ldquoEnglish-accented Shakespeare carriesa specific resonance in Scotland one thatdirectors usually choose to avoidrdquo pointsout Mark Fisher a freelance journalist criticand author of the forthcoming book How toWrite Abouteatre

ldquoIrsquom not sure exactly when attitudesstarted to change but Irsquod say the argumentin favour of Scottish-accented productionshad been pretty much won by the 1990sBy that time companies such as Raindogand directors such as Hamish Glen hadbeen making a point of casting very Scottishproductions of Shakespearerdquo

One example of how things hadprogressed even by 1992 was the late KennyIrelandrsquos production of A Midsummer

Nightrsquos Dream his first as Artistic Directorat Edinburghrsquos Royal Lyceum ldquoHe castthe mechanicals with Scottish accents andeveryone else with English accentsrdquo MarkFisher explains ldquois I said in my review wasa fundamental error ndash or some such phrasee message it sent out was that people withScottish accents were foolish figures of fun whereas people with English accents wereserious figures of respect

ldquoIreland reacted furiously to my review

and made the case that he had based thecasting of the mechanicals around (the actor) Andy Gray who has a Scottish accent Inother words the meaning I inferred hadnot been deliberate I think itrsquos true to sayhowever that Ireland never cast a Shakespearelike that againrdquo

Gordon Barr is Artistic Director of

Glasgow-based Bard in the BotanicsScotlandrsquos only professional Shakespearecompany (see following pages)

ldquoWersquove never gone out of our way tomake Scottish versions of these texts norhave we gone out of our way to have classicaltraditional voicesrdquo he says ldquoMost of our coreactors have made their careers up here so wethink of them as Scottish actors

ldquoat is important to us to not overlylook outwards for the acting company As

much as possible we work with people who are based in Scotland Wersquore regularlyproducing Shakespeare here and we want tobe a part of the training to ensure that there isa range of strong classical actors hererdquo

Citizens Theatrewwwcitzcouk

Owen Whitehawas the Fool andDavid Hayman asLear in CitizensTheatrersquos King Lear Photo by TimMorozzo

Scotland Shakes

SHAKESPEARE magazine 41

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Bard in theBotanicsrsquo As You Like

It takes Rosalind andOrlando into theopen air

ldquoTouring is something that we have wanted to do foryears but was somethingthat we could not afford

to do without fundingrdquo says Gordon Barr Artistic Director of Scotlandrsquos only professionaloutdoor Shakespeare festival Bard in theBotanics If therersquos any irony attached tothe companyrsquos first major tour of Scotland which took place in early 2015 itrsquos that theperformances of their acclaimed Romeo and Juliet ndash featuring a cast of five ndash were playedexclusively indoors

ldquoNobody is touring classical theatre in

Scotland at the minute so itrsquos importantto usrdquo Barr adds ldquoOur work is so muchabout accessibility One of the joys of beingoutdoors is that people come to see the work who wouldnrsquot buy a ticket for a theatre Ifyou can bring a picnic sit out on the grass while watching the show it feels easier moreaccessible But people canrsquot come from Thursoto Glasgow for a night just to see a productionof Shakespeare They should be able to see itin Thurso So that is kind of where the urge totour came fromrdquo

Bard in the Botanics has presented outdoorShakespeare within the grounds of GlasgowrsquosBotanic Gardens since 2003 This yearrsquoslsquoUnlikely Wondersrsquo season presented newproductions of Loversquos Labourrsquos Lost The Merchant of Venice Richard II and A Midsummer Nightrsquos Dream in lsquoreprsquo between24 June and 1 August

The companyrsquos founder Scott PalmerBarr explains had done a lot of his training atthe Oregon Shakespeare Festival one of the

biggest in North America ldquoWith the kindof drive and enthusiasm that only Americanshave he managed to convince the entire cityof Glasgow that outdoor Shakespeare would work and that the weather wasnrsquot going to be

a problemrdquoTwo years later Palmer moved on and Barr

ndash originally involved as a director ndash succeededhim as Artistic Director ldquoIf anyone then hadsaid that I would end up spending 12 yearsrunning an outdoor Shakespeare festival I wouldnrsquot have believed themrdquo he says in hisoffice hidden behind some of the Botanicsrsquogardening sheds ldquoI very quickly fell in love with it once I started working here Despiteall the trials and tribulations that outdoortheatre in Scotland brings with it therersquos just

something magical and special about it Itrsquos a very close-knit company and thatrsquos sort of keptus all here as long as we have beenrdquo

While the annual summer season ofShakespeare plays in the Botanics will remainat the centre of what the company does ndashldquoOtherwise Bard in the Botanics becomesa rather strange namerdquo ndash Barr is very much

Outof theGarden

This year has seen Glasgowrsquos Bard in the Botanicsdo something completely unexpected They wentout on a tour of ndash whisper it ndash indoor venueshellip

Scotland Shakes

42 SHAKESPEARE magazine

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Scotland Shakes

SHAKESPEARE magazine 43

focused on building on the touring side ldquoBecause it was our first ever tour we

did end up taking Romeo and Juliet to theestablished Scottish touring circuitrdquo he addsldquoIt takes a while to build up relationships with the smaller venues thatrsquos going to bean ongoing process for us Even so we weretaking Romeo and Juliet to places like Mulland Stranraer ndash communities and venues thathavenrsquot had a lot of classical theatre comingthrough themrdquo

The choice of play was deliberate too ldquoIt was a production that was ready to go whichhad received five star reviews and sold out itsextended run in the Botanics in 2012 So weknew that the work was good but therersquos nodoubt that for a first tour we wanted to makeit easier for the venues to sell it Most venuesknow they can find an audience for Romeo and Juliet rdquo

In time he hopes that audiences aroundthe rest of Scotland will come to trust the Bardin the Botanics name sufficiently to take on theless familiar plays

ldquoYou just donrsquot know how quickly acommunity is going to turn out for Henry IV yetrdquo he says ldquoHopefully three or four toursdown the line theyrsquore going to turn out forBard in the Botanics ndash and if it happens to be

Henry IV well thatrsquos greatrdquoGiven their reimagining of A MidsummerNightrsquos Dream as a 1920s burlesque musicalis there a particular Bard in the Botanicsapproach to Shakespeare

ldquoOur kind of unofficial motto is lsquoBe BoldBe Braversquordquo Barr says ldquoIf wersquore continuingto stage these plays around 400 years afterShakespearersquos death I think therersquos an urgencyto ask lsquoWhyrsquo It is important to questionlsquoWhat is the story that we want to tellrsquo I wantto see how these plays intersect with historyand todayrsquos society not to present museumpieces

ldquoItrsquos always with an eye to try to releasesomething thatrsquos within the textrdquo Barrinsists ldquoWersquore not remotely interested ininnovation for innovationrsquos sake The playsare masterpieces thatrsquos essentially why wersquorestill doing them 400 years later But to revealsomething thatrsquos unexpected or new thatrsquosimportant to usrdquo

Bard in the Botanics

wwwbardinthebotanicscouk

Rosalind and Audreyin the forest Bardin the Botanicsrsquo As You Like It

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Shakespeare at the Tobacco Factory stf 2016 Seasonco-production with Tobacco Factory Theatres

HAMLETBy William Shakespeare

Directed by Andrew Hilton

Main run Thu 11 February ndash Sat 26 March 2016

In repertoire with Allrsquos Well That Ends WellMon 25 ndash Wed 27 April Sat 30 April 2016

The most famous play in world drama Hamlet

turns a new face to every decade So many

elements - political madness sex murder ndash all

brought together in a drama that is both a thriller

and the profoundest meditation on our human

condition

ldquoThrilling workrdquo The Guardian on Romeo amp Juliet

ldquoBullseyerdquo WhatsOnStage on Romeo amp Juliet

Shakespeare at the Tobacco Factory Friends Priority Booking opens Wed 23 September 10am

wwwstf-theatreorguk

Tobacco Factory Theatres Members Priority Booking opens Wed 16 September 10am

wwwtobaccofactorytheatrescom

Public Booking opens Wed 30 September 10am

Tobacco Factory Box Office 0117 902 0344

ALLrsquoS WELL THAT ENDS WELLBy William Shakespeare

Directed by Andrew Hilton

Main run Thu 31 March ndash Sat 23 April 2016

In repertoire with Hamlet

Thu 28 ndash Fri 29 April Sat 30 April

A young woman using skills bequeathed herby her father saves the French Kingrsquos life and

is rewarded with the right to choose her own

husband But what if the chosen one wonrsquot play

the game How can she get him into bed How

can she make him love her

ldquo There is something approaching real

magic hererdquo The Arts Desk on The School for Scandal

P h o t o s M

a r k D o u e t

Dorothea MyerBennett in Richard III

Benjamin Whitrowand Julia Hills in The

School For Scandal

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Having conquered

Hollywood and vanquished

the global entertainment

industry video games now

on our culture So where

does the Bard stand in all of

this We sent a Shakespeare

scholar to investigatehellip

Words Andrew Bretz

Shakespeare video games

46 SHAKESPEARE magazine

T eGamersquos A oot Silent Hill is one

big-name gamewhich includesShakespearereferences

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Shakespeare video games

SHAKESPEARE magazine 47

German cardboard Macbeth datingfrom the early1800s

Hamlet reimaginedRyan Northrsquos To Be

Or Not To Be

W

hen you walk intothe wood panelled Victorian Gothicismof the Gail Kern Paster

Reading Room at theFolger Shakespeare Library in WashingtonDC video games are probably the lastthing on your mind Buried deep withinthe archives however are a set of fragilecardboard figures printed in Germany in theearly 1800s representing each of the maincharacters of Macbeth

Nineteenth century German children would play with these figures on smallcardboard stages no bigger than a dollhouseey could replicate the story as it was toldin Shakespeare or use their imagination tochange the ending letting Lady Macbethsurvive and bringing Duncan back from thedead if they so chosee limits of the game were the limits of their imagination

Today the lsquogamificationrsquo of Shakespeareis a big business from Ryan Northrsquos choose-your-own-adventure edition of Hamlet To Be Or Not To Be to IDW Gamesrsquosupcoming Kill Shakespeare board gamebased on the comic of the same name

Gamifying Shakespeare is filtering intoschools libraries and the theatrical worldas well with the University of California atDavis the Stratford Festival in Ontario theGlobeeatre in London and the LondonMetropolitan Archives all experimenting with video game elements in exhibits productionsand research

Why video games In a sense this is thelogical next step in the media development ofShakespeare Hersquos everywhere in other media

books movies merchandise But videogamese answer for that depends on whoyou ask

StorytellingOccasionally individuals or publishinghouses develop video games that try to tellthe story of say Hamlet yet this is relativelyrare One example would be Elsinore a time-looping narrative adventure game set in the world of the play Players play the game as

Ophelia who wakes up knowing that in fourdays the entire court will be dead and shemust do something to stop ite problemis that she is stuck in a time loop reliving thesame four days over and over againat said Shakespearersquos presence in the

video game industry tends to be focused oncitation rather than adaptation of the playsat is video games for Xbox Playstationand other popular gaming systems often

just cite Shakespearersquos plays as a part of acommon cultural heritageese games donrsquotrestage say Hamlet but they quote the playIn these cases Shakespeare is used to establisha point of identification for the audience His writing tells the audience something aboutthe character or the situation

Given that audiences are supposedto be able to identify the quotations asShakespearean it is unsurprising that Hamlet is the most popular text for game designers to

cite Ine Elder Scrolls Online for instancea merchant NPC (non-player character)quotes Polonius when players interact sayingldquoNeither a borrower nor a lender berdquoe words establish the NPCrsquos role as a merchant while fitting the medieval world of thegame In the game LA Noire upon pickingup a fake shrunken head at a crime scene adetective leaps into high melodrama withldquoAlas poor Yorick I knew him Horatiordquoequotation and the clever voice acting establish

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Shakespeare video games

48 SHAKESPEARE magazine

the characterrsquos strait-laced yet macabre senseof humour

Sometimes citing Shakespeare is a partof a critique of a larger theme In the game Mass E ff ect the Elcor are a race of elephantinealiens who preface all statements with adescription of the emotion they are feelingand who speak in a slow monotonous drone As players interact with the expansive worldthey can discover a number of advertisementsfor an all-Elcor Hamlet e idea of theElcor actor ndash the ultimate in a flat woodenperformer ndash having to preface ldquoTo be or not

to berdquo with ldquomorose ruminationrdquo goes beyondthe simple humour of a bad Shakespeareperformance It subtly asks what it is aboutacting (and especially voice acting) that isvaluable

Shakespeare can appear in video gamesnot merely as a marker or contextualisationtool but as a part of a puzzle For example inthe game Silent Hill 3 players must arrange aset of Shakespeare anthologies on a bookshelfin an abandoned shopping mall in order to

proceed in the game At the hardest levelthe puzzle clue takes the form of a poemthat references all the major tragedies Romeoand Juliet King Lear Macbeth Othello andof course Hamlet e bloody nature of thetragedies fits with the bloody nature of theSilent Hill series of games which fall into thesurvival horror genre

Popular video games have also servedas the inspiration for games that engage with Shakespeare in a more direct way For

example Daniel Fischlin at the Universityof Guelph in Ontario Canada led a teamthat created a Flash game called rsquoSpeare Itrsquos

a scrolling arcade-style game suggesting thersquo80s hit Galaga which sees players identifyingand navigating through a series of enemies who turn into words upon being destroyede player progresses through the levelsby collecting the correct words to createShakespearean quotes learning Shakespeareantrivia along the way

ImmersionOne of the most exciting aspects of videogames is the ability to immerse the player inthe world of the game in a way that othermedia simply cannot do Being able to walkaround Prosperorsquos cell Julietrsquos balcony orto stand before the ghost of Hamletrsquos fatheras he cries out ldquoList list O listrdquo ndash theseexperiences are made possible through videogame technology

Students of Scenic Arts at the Universityof Hildesheim in Germany created Projekt ARIEL or SturmMOD in 2008 using a lsquomodrsquo(or modification) to the engine that runs

the game Far Cry 1 e performance artproject allowed users to experience Prosperorsquosisland interacting with certain parts andexploring others Players could walk aroundan imaginative rendition of Prosperorsquos cell and witness or interact with elements of the playincluding diff erent characters like CalibanProspero and Miranda

Four days to savethe Danish court

Elsinore

Another Hamlet reference this timein LA Noire

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Shakespeare video games

SHAKESPEARE magazine 49

Gina Bloom at the University of Californiaat Davis is presently spearheading a projectthat will be demonstrated in the lobby of theStratford Festival theatre in Ontario Canadathis summere project Play the Knave AShakespeare Performance Videogame lets usersdesign a virtual performance space and thenperform a scene from a Shakespeare playinhabiting this constructed space with anavatar As a Davis insider explains ldquoWe use akinect motion capture camera to capture theuserrsquos skeletal data so that players use theirentire bodies to control their avatarrsquos gesturesonscreen all the while reciting the lines from

Shakespearersquos scenerdquo is literally immersesthe players in the scene

Shakespearersquos Globe eatre in Londontook another tactic regarding immersionin the production of the game HemmingsrsquoPlay Company Hosted on the Playgroundportion of the Globersquos website and thusaimed at an audience of children the gamehas players taking on the role of Hemmingsan Elizabethan bear who leads a troupe oftheatrical animals such as Kit the Cat Dekker

the Dog and Slye the Foxe turn-based game leads players through

the vagaries of Elizabethan theatre practicefrom patronage to lost props and the plagueBy the end of the game players must earnenough money to rebuild the Globe after itburns down during a performance of HenryVIII

Also from Shakespearersquos Globe are twoinnovative video experiences created forchildren aged five to 11 e first Exploring

Shakespeare features two boys on a tour ofthe Globe theatre who sneak off to explorebackstage e video illustrates four plays

using short animations that are keyedto things the boys find backstage etechnology combines live action film andanimation to create an interactive touchablegame Filled with mini-games quizzes andinteresting facts about Shakespeare the gameallows players to click through the narrativeor to stop and learn more as they go along

e second video called Staging It usesthe same technology as the first film but thistime is for the 11-16 age group In this gamee Globe has filmed two actors performingfamous duologues from A MidsummerNightrsquos Dream and Macbeth on the Globestage Rather than shoot it once the actorshave performed their lines in diff erent ways(happy flirtatious defensive and so on)creating several diff erent clips per linePlayers can watch each of the clips and addtheir choice to a dynamic storyboard tobuild up their final scene Impressively theplatform allows for up to 1000000 diff erentcombinations of clips

Apps and Mini-GamesItrsquos when you start to look outside of therealm of popular video game platformslike Xbox or Playstation that Shakespeare

Silent Hill 3 Brush upyour Shakespeare ifyou want to survive

Hemmingsrsquo PlayCompany fromShakespearersquosGlobe

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Shakespeare video games

50 SHAKESPEARE magazine

really starts to pop up wherever you looke ubiquity of Shakespeare is especiallynoticeable when you start to look at apps andmini-games designed for phones and tablets

In 2012 Big Fish Games released aniPhone and iPad game called Hamlet that featured all the main characters ofShakespearersquos play but transposed them intoa save-the-princess narrative puzzle game A time traveller lands in Denmark andaccidentally kills Hamlet and so players mustcomplete his journey for him saving Opheliaand killing Claudiuse Shakespeareancontent is minimal and heavily adapted andyet it fits with the puzzle format in whichShakespeare tends to be found in videogamese Chronicles of Shakespeare Romeo amp

Juliet ande Chronicles of Shakespeare A Midsummer Nightrsquos Dream are lusciously-illustrated puzzle games for the PC In themplayers act as one of the characters from theplays gathering items and clues through aShakespearean environment

Among the literally thousands of appsrelated to Shakespeare that can be found forthe iPad or Android tablet are

e Shakespearean Insult Creator which generates invectives drawn from a wholly Shakespearean vocabulary So nexttime you want to call someone a jerk trysomething more like ldquoou fusty follyfallenfustilarianrdquo

e Shakespeare Translator whichtranslates ldquonormal English words and phrasesinto the words of Shakespeare himselfrdquo

e Shakespeare Fortune Cookie which provides short quotes from the plays

and a small trivia game Shakespeare or Die a game that

scrambles the words of famous quotationsfrom the plays and asks you to identify theplay and character who spoke the line If youmake a mistake however beware the witchesese apps are either explicitly games or

they are coming out of a game-like impulse tomake Shakespeare more accessible to everyone with an internet connection

Brave New WorldsIn a world where Shakespeare is an industrycounted in the millions of dollars per yearit is so easy to forget that Shakespearersquos playsare just that ndash playsere is a sense of joyand fun and happiness embedded in theexperience of watching them Games are oneof the ways that people over the centuries

have tried to recapture that elusive sense ofplayfulness within Shakespeare So it makesperfect sense that now with the advent ofdigital technologies Shakespeare is movinginto the digital world with a vengeance

From big studio games likee ElderScrolls to small apps that can be downloadedfor free from talking bears to immersiveperformance experiences Shakespeare iseverywhere in video games Rather than beingan undiscovered country into which the Bard

is only just beginning to emerge games havein fact engaged with Shakespeare and his works for hundreds of years And they willprobably continue to do so for hundreds ofyears to come

rsquoSpeare is a scrollingarcade-stylegame with addedShakespeare trivia

Hamlet is aShakespeare-themed puzzle fromBig Fish Games

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Meet thy makers

Helen Mears fell into bardolatryduring her teenage years and has

never recovered She is a volunteersteward at Shakespearersquos Globe

which ensures a regular diet of theBard She teaches English Film andMedia at Suffolk New College and isa specialist in teaching Shakespeareusing active methods Her favouriteShakespearean actor is Jamie Parker

and her favourite plays are the SecondHistory Tetralogy She hopes to

finish her Masters in the AdvancedTeaching of Shakespeare very soonFind her on Twitter hipster_hels

Paul F Cockburn is an Edinburgh-based freelance magazine journalist who specialises in writing about

arts and culture equality issues andpopular science Hersquos sufficiently

grey-haired for his English Literaturetraining to have sort of overlapped

with The BBC Television Shakespeareproject saving at least some of the

plays from death by academiaFind him on Twitter paulfcockburn

Jen Richardson first fell in love withShakespeare as a 15-year-old schoolgirl

ldquoHe got under my skin and hersquos still theretodayrdquo After training with a Manchester-based drama tutor she went on to pursuean acting career Drama remains a greatinterest but her focus is now on sharing

her passion for Shakespeare throughher writing In her spare time Jen is

generally down in Stratford-upon-Avonsitting on her favourite bench behind

Holy Trinity ChurchFind her on Twitter The_JenJen

Andrew Bretz is a sessional instructorof English Literature and Drama

specialising in early modern dramaHe has taught at Wilfrid LaurierUniversity the University of Guelph

Brock University and McMasterUniversity For the past two years he

has taught a special summer intensiveat Ontariorsquos Stratford Festival His PhDdissertation was on the representationof sexual violence on the early modern

stage Find him on TwitterAndrewBretz001

Just some of the contributors to this issue of Shakespeare Magazine

Rosalind Lyons is a painter whohas exhibited widely in both mixedand solo shows with work in UK

and international private collections A life-long love of Shakespeare isreflected in many of her paintings

and a particular recent focus isShakespearersquos Globe theatre where shespent a period as artist-in-residenceShe is currently studying for a PhD

in Painting and ShakespeareanTheatre at Anglia Ruskin University

in CambridgeFind her on Twitter roslyons

52 SHAKESPEARE magazine

Contributors

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Page 30: Shakespeare Magazine 08

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as Artist in Residence thereat experienceprompted more in-depth exploration notonly of Shakespeare and painting but of therelationship between painting and theatreere are of course the strong visualconnections ndash both are spaces for spectacleand illusion But also compelling ideas oftransformation imagination storytelling andidentity And overall the theme of ambiguitye blurring of boundaries between realityand fiction male and female light andshadow past and present I am fascinated byhow we respond to history how we re-presentand re-imagine the past And the figures inmy paintings are imagined as belonging toboth now and then ndash flitting back and forthacross the threshold between past and presentbetween Shakespearersquos time and our own

modern worldI have painted some specific characters

from Shakespeare but many subjects ofmy paintings are anonymouse figuresare unknown their place purpose role is amysteryis anonymity is unsettlingereare clues in the setting in the costumes ndash orperhaps I should just say in the clothes theyare wearing ndash but the context is not obviousI am fascinated by the dramatic convention ofcross-dressing ndash and particularly the inherent

confusion as with Rosalind ( As You Like It )and Viola (Twelfth Night ) in the idea of aboy playing a girl playing a boy Many of thecharacters I invent are androgynous theirgender and age uncertainis ambiguityof identity interests me in the context ofvisual illusion and theatrical transformationthe idea of inbetween-ness and somethingunresolved

Like theatre my paintings are concerned with inventing characters and the creation

Right No MoreYielding But A

Dream

Roaslind Lyons

30 SHAKESPEARE magazine

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of an imaginary world and I am particularlyattracted to the fools fairies and witchesIn A Midsummer Nightrsquos Dream the fairiesrsquoactions may seem malevolent or benign or just mischievous but there is definitely a dark

side an underlying sense of threate Fool too is intriguing Shakespearersquosfools frequently describe themselvesor are referred to as a nobody but areunquestionably much moree fool is anoutsider concerned with but at the same timeseparate from the story He ndash or sometimesshe ndash doesnrsquot quite belong anywhere butseems to exist on the boundary between thefamiliar and the uncanny

I am attracted to the strange to mysteryand shadows and try to express through myimages a strong feeling that it could be thator maybe something else As Orsino says atthe conclusion of Twelfth Night ldquoA naturalperspective that is and is notrdquo While makinga painting and even when it is finished Idonrsquot know really who my characters are ndashthey remain elusive But I like not knowingand ultimately meanings always change anddepend on individual perceptions

My experience at the Globe led to aparticular fascination with the ambiguous and

protean quality of the theatrical performerhow their identity transforms and fluctuatesI was attracted by this when watching

Rosalind Lyons

SHAKESPEARE magazine 31

Above A MidwinterNightrsquos Dream

Right Three Fools

Far right FollowingDarkness

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rehearsals observing actors shift between selfand impersonation between diff erent realitiesand identities When they are not acting theyndash metaphorically and often literally ndash melt

into the shadows I am interested too in thephysical and symbolic threshold between lsquoonrsquoand lsquooff rsquo-stage the transformation inherentin an actor moving from the wings onto thestage assuming another self and anotheridentity Particularly evocative is the fact thatactors were colloquially known as shadowsin the Elizabethan playhouses ndash suggestingsomething unknowable and insubstantialIn the Prologue to Henry V Shakespeare hasthe Chorus describe the players as lsquociphersrsquoimplying deception and secrecy

Artists in the past who have tackledShakespeare have generally produced imagesthat directly illustrate the text or representfamous actors or scenes from a particularperformance Today as well as on the stageShakespearersquos plays are frequently re-imaginedin very successful film and TV adaptationsbut I have struggled to find more than ahandful of contemporary fine artists whohave engaged with Shakespeare on any levelPerhaps Shakespeare as a subject is seen

by some as too traditional too lsquopopularrsquoor simply just too lsquooldrsquo But in the theatreand in literature there is an ever-increasingenthusiasm for innovative interpretationsof the plays and for me Shakespeare is aconstant inspiration

e Prologue of Henry V also urges theaudience to ldquoPiece out our imperfections withyour thoughtsrdquo to liberate the imaginationand create another kind of reality to shapeour own fantasies within the ldquowooden Ordquo of

the theatre In my paintings I endeavour todo the same

Explore the work of Rosalind Lyons atwwwrosalindlyonscom

Above These Two CreaturesBelow Therersquos Magic In Thy Majesty

Roaslind Lyons

32 SHAKESPEARE magazine

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$amp( ) +-01

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Aidan OrsquoReilly

34 SHAKESPEARE magazine

Looking forRichard AidanOrsquoReilly is playingShakespearersquosbaddest monarch

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Aidan OrsquoReilly

SHAKESPEARE magazine 35

You are legally blind having been

diagnosed with retinoblastoma as an

infant How did this impact on your

acting aspirations and early career

ldquoMy parents did a good job raising me Inever grew up thinking of it as a handicap orthinking it could hold me back from what I wanted to do I couldnrsquot play sports at all soI think my parents were grateful that I hadsomething that I was passionate about from avery young age

ldquoI went to a public elementary school with a program designed for the blind so itfelt very natural for me to be the way that I was And acting has always been part of thatrdquo

You went to RADA in London Was

there a reason why you wanted to

train in England and not in the US

ldquoItrsquos always been an ambition of mine to

travel as far and wide as possible Also myhero growing up was Peter OrsquoToole ndash Iread his autobiography in high school andlearned he had gone to RADA and decided I wanted to go there too So I auditioned therenot knowing that RADA is arguably thebest drama school in the English-speaking world Consequently I was quite relaxed atthe audition which is probably why I gotin My ignorance can sometimes serve me well Going to RADA was a life-changing

Aidan OrsquoReilly is an actor with an

inspiring story Legally blind since he

was six months old he forged a passionfor drama at an early age Aidan went

on to gain a BA with honours from

Londonrsquos Royal Academy of Dramatic

Art before touring for three years with

the American Shakespeare Center

In 2012 Aidan was diagnosed with

sarcoma a rare cancer He bounced

back in 2014 after intensive treatment

and is now cancer-free We spoke to

Aidan as he prepared to play the title

role in Richard III for Californiarsquos Marin

Shakespeare Company We asked himto share his story and to give us his

take on one of Shakespearersquos most

fascinating characters

Interview by Jen Richardson

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Aidan OrsquoReilly

36 SHAKESPEARE magazine

experience I was lucky enough to havecontact with brilliant professors and Irsquom stillin awe of the students I went to school withI wouldnrsquot trade that experience for anythingrdquo After graduating from RADA you

went on the road with the American

Shakespeare Center Tell us a bit

about that

ldquoThat was one of the happiest times of mylife In many ways I got spoiled I was a working actor 11 months out of the yeartouring nationally seeing parts of the USI had never been to before doing plays Iloved and working with directors who werevehemently faithful and respectful to the text When I wasnrsquot on the road I was in residenceat the Blackfriars Playhouse in StauntonVirginia with many extraordinary actorsI was very lucky to be thererdquo

Three years ago you were diagnosed

with sarcoma How did you

overcome this enormous challenge

and return to the stage in 2014

ldquoThe only reason Irsquom still alive is because ofmy mother Lily and my wife Jocelynn AlsoI was fortunate that we caught it before it hadspread and it was on my leg and away fromany major organs

ldquoI am very grateful for my team of doctorsat UCSF who did an incredible job in mytreatment and follow-up care Irsquom glad to beback to workrdquo Yoursquore now due to play Richard III

with Marin Shakespeare Company

Howrsquos it going so far

ldquoAt this point Irsquom in the paperwork stage

of things A lot of reading the HenryVI s biographies of Richard as well asperformance history of the play itself Irsquomdoing a fair amount of limping around myapartment as well I canrsquot wait to get intorehearsals next weekrdquo Tell us about Marin Shakespeare

Company and what appealed to you

about working with them

ldquoRobert and Lesley [Currier MSCrsquos Artistic

Director and Managing Director] arefascinating people Their intelligence andhumour is contagious Without questionthere is a lot to be learned from themrdquo Richard IIIrsquos remains were discovered

in 2012 and reburied this year Is all

the new information about Richard

influencing your portrayal

ldquoYes and no My job isnrsquot to play the historicalRichard but the Richard that Shakespeare has

Aidan believesthat Richard IIIrsquosobsession withcontrol is whatcauses his downfall

ldquoPeter OrsquoToole wasmy hero He went to

RADA so I wanted to go there toordquo

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Crowning gloryAidan with MarinShakespearersquosRobert Currier

created Itrsquos helpful to know the facts of thesituation in order to gain insight into whathas been changed in Shakespearersquos versionof events

ldquoI met with a friend of mine who is a

retired surgeon who walked me through themedical information that has come to lighton Richardrsquos body and I will certainly usethat to inform my physical choicesrdquo Unlike many actors yoursquore the right

age to play the historical Richard III

Do you feel Richardrsquos relative youth

has been overlooked

ldquoI do Richard is a young man who believeshe is hardened by the experiences he andhis family endured during the War of theRoses and believes himself to be beyondhuman emotions and the lsquorestrictionsrsquo of aconscience He isnrsquot He pays the bill for thehorrible things he does That lack of self-knowledge is not exclusive to youth but I feelit makes him more sympathetic and relatableto an audiencerdquo Some people think Richard III shows

Shakespeare delivering a highly

effective piece of Tudor propaganda

Where do you stand on thatldquoI think Shakespeare has a soft spot foroutsiders and underdogs Although his playssometimes work within the confines of thebiases of Elizabethan society he canrsquot help butmake his lsquovillainsrsquo fascinating human beings

For as horrible as Richard is itrsquos amazing tosee how audiences relate and respond to himrdquo Which other important themes do

you feel Shakespeare deals with in

the playldquoThe history plays are full of extraordinarypeople who waste their lives and intelligence who sacrifice their humanity in pursuit of thecrown Itrsquos still happening today What is theattraction of power Richard never pauses tothink of why he wants the crown or if hersquodbe any good as king Turns out hersquos not butitrsquos this bizarre obsession with control thatpropels him to kill everyone off thatrsquos in his way Itrsquos also fascinating that the one characterthat is consistently kind to Richard is hisfather York

ldquoI think an argument can be made thatRichard in his warped way is trying to liveup to the image he has of his father Ofcourse York is dead and gone by the timeRichard III begins but you can glean a lotabout Richardrsquos inner workings in the way hespeaks about his father Of course itrsquos foolishto try to answer questions that Shakespearedoesnrsquot and Irsquom not trying to say this solvesa mystery but I think itrsquos interesting Itrsquos only

an element itrsquos not the answerrdquo Richard III is listed as a historical

play in the First Folio but in the

quarto edition it is termed a tragedy

Which category would you put the

play in and why

ldquoI think of the history plays from Richard II to Richard III as one vast play an epic thatencompasses all the categories I think if youlook at Richardrsquos progression through those

plays you see a great mind warped by the War of the Roses and that certainly adds tothe tragic element I think of Richard III asthe final chapter of a great epicrdquo

Aidan OrsquoReilly stars in Marin ShakespeareCompanyrsquos Richard III from 4-27 September

Aidan OrsquoReilly

SHAKESPEARE magazine 37

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Scotland Shakes

SHAKESPEARE magazine 39

Bonnie Prince

Brian Fergusonas Hamlet in theCitizens Theatre

production Photoby Tim Morozzo

Billy William Shakespeare is undoubtedly Englandrsquos

Bard But how is he viewed north of the border

Our Caledonian correspondent surveys the state

of Shakespeare in Scotland and meets esteemed

outdoor theatre company Bard in the Botanics

Words Paul F Cockburn

T owards the end of May thisyear a BBC Scotland afternoon

news bulletin surprisinglyturned its attention to aforthcoming production of

ldquoone of William Shakespearersquos best lovedplaysrdquo ndash A Midsummer Nightrsquos DreamHowever this particular production wasnrsquotconsidered newsworthy because it came froman amateur group based in Dumfries andGalloway Not even that the CrossmichaelDrama Club were one of just seven amateurScottish groups taking part in the Royal

Shakespeare Companyrsquos Open Stages project which aims to help amateur companies

extend their repertoiresNo the lsquohookrsquo was how this newproduction was Shakespeare ldquobut no asyou micht ken itrdquo Because it had beenreimagined in Scots as A MidsimmerNichtrsquos Dreme

As it happens writer John Burns saysthat his principle reason for translating AMidsimmer Nichtrsquos Dreme was simply theintuition that it being in Scots would workto the benefit of the production ldquoItrsquos not

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Scotland Shakes

40 SHAKESPEARE magazine

so much that 16th century English canrsquot docertain things more that using Scots brings itcloser to a Scottish audience and to audiences who might think Shakespeare too fancyrdquo hesays ldquoI feel too that Scots can catch the sheerphysical power of Shakespearersquos language He writes lines you really feel physically when

you say them out loud My intention was touse Scots to produce a text that was actableand which would be accessible and enjoyablefor the audience and the Scots was a majorpart of thatrdquo

Arguably translating Shakespeare intoScots ndash viewed by many as a distinct languagefrom English ndash is just one way of finding thecontinued relevancies of Shakespearersquos writing with the here and now Certainly John Burns was keen to see if Scots ldquocould match the way

Shakespeare switches tonehellip from broad attimes bawdy humour to moments that aremore serious or even sinisterrdquo

Yet there is a wider perspective whether wersquore discussing translation into Scots orsaying Shakespearersquos words with a Scottishaccent Willy Maley and Andrew Murphyin their introduction to Shakespeare andScotland (published by Manchester UniversityPress in 2004) go as far as describing thetranslation of Shakespearersquos Macbeth into

Scots as ldquoa patriotic actrdquo not least becauseof ldquothe political commitment implicit intranslating from English to Scots reversing

the dominant dubbing practice infi

lmsrdquoGlasgow-based novelist and playwright Alan Bissett ndash who actively campaigned fora Yes vote during last yearrsquos IndependenceReferendum ndash has since written about howsince the 1970s Scottish theatre had ldquoadeep engagement with the shifting beastof Scottish politicsrdquo Although Bissett wasfocusing primarily on original works byScottish playwrights and directors itrsquos worthpointing out that Shakespeare ndash despite therebeing absolutely no evidence to prove he evertravelled north of Carlisle ndash has played hisown part in this

As Maley and Murphy point outldquoScotlandhellip never had precisely the samerelationship with the Bard as England hasbut has experienced a fraught process ofappropriation incorporation and resistancerdquoIn part this is because Shakespeare ndash in hislatter career ndash was among the first lsquoBritishrsquo writers Many of his later plays ndash Cymbeline King Lear even Hamlet ndash were produced

A tartan-cladAntipholus andDromio in Bard inthe Botanicsrsquo TheComedy of Errors

Brian FergusonrsquosHamlet CitizensTheatre productionPhoto by TimMorozzo

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under the patronage of Scotlandrsquos King JamesVI (aka James I of England) Each in theirown way can be said to touch on ldquothe matterof Britainrdquo the complex relationship between

the constituent elements of Jamesrsquos newlsquounitedrsquo kingdom which the Stuart monarch was determined to see joined into oneat never quite happened of course

Even after the 1707 Act of UnionScotland retained its own legal educationaland religious systems along with anaccompanying sense of Scottish identity ndash which survived even the height of the Britishempire Yet from the 1970s on there havebeen notable changes in how Shakespeareis treated by Scotlandrsquos producing theatrecompanies Several years ago GlasgowrsquosCitizenseatre delivered a powerful Romeoand Juliet in part because of their decision toset the action in a present-day sectarian Westof Scotland ndash with accents to match

ldquoEnglish-accented Shakespeare carriesa specific resonance in Scotland one thatdirectors usually choose to avoidrdquo pointsout Mark Fisher a freelance journalist criticand author of the forthcoming book How toWrite Abouteatre

ldquoIrsquom not sure exactly when attitudesstarted to change but Irsquod say the argumentin favour of Scottish-accented productionshad been pretty much won by the 1990sBy that time companies such as Raindogand directors such as Hamish Glen hadbeen making a point of casting very Scottishproductions of Shakespearerdquo

One example of how things hadprogressed even by 1992 was the late KennyIrelandrsquos production of A Midsummer

Nightrsquos Dream his first as Artistic Directorat Edinburghrsquos Royal Lyceum ldquoHe castthe mechanicals with Scottish accents andeveryone else with English accentsrdquo MarkFisher explains ldquois I said in my review wasa fundamental error ndash or some such phrasee message it sent out was that people withScottish accents were foolish figures of fun whereas people with English accents wereserious figures of respect

ldquoIreland reacted furiously to my review

and made the case that he had based thecasting of the mechanicals around (the actor) Andy Gray who has a Scottish accent Inother words the meaning I inferred hadnot been deliberate I think itrsquos true to sayhowever that Ireland never cast a Shakespearelike that againrdquo

Gordon Barr is Artistic Director of

Glasgow-based Bard in the BotanicsScotlandrsquos only professional Shakespearecompany (see following pages)

ldquoWersquove never gone out of our way tomake Scottish versions of these texts norhave we gone out of our way to have classicaltraditional voicesrdquo he says ldquoMost of our coreactors have made their careers up here so wethink of them as Scottish actors

ldquoat is important to us to not overlylook outwards for the acting company As

much as possible we work with people who are based in Scotland Wersquore regularlyproducing Shakespeare here and we want tobe a part of the training to ensure that there isa range of strong classical actors hererdquo

Citizens Theatrewwwcitzcouk

Owen Whitehawas the Fool andDavid Hayman asLear in CitizensTheatrersquos King Lear Photo by TimMorozzo

Scotland Shakes

SHAKESPEARE magazine 41

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Bard in theBotanicsrsquo As You Like

It takes Rosalind andOrlando into theopen air

ldquoTouring is something that we have wanted to do foryears but was somethingthat we could not afford

to do without fundingrdquo says Gordon Barr Artistic Director of Scotlandrsquos only professionaloutdoor Shakespeare festival Bard in theBotanics If therersquos any irony attached tothe companyrsquos first major tour of Scotland which took place in early 2015 itrsquos that theperformances of their acclaimed Romeo and Juliet ndash featuring a cast of five ndash were playedexclusively indoors

ldquoNobody is touring classical theatre in

Scotland at the minute so itrsquos importantto usrdquo Barr adds ldquoOur work is so muchabout accessibility One of the joys of beingoutdoors is that people come to see the work who wouldnrsquot buy a ticket for a theatre Ifyou can bring a picnic sit out on the grass while watching the show it feels easier moreaccessible But people canrsquot come from Thursoto Glasgow for a night just to see a productionof Shakespeare They should be able to see itin Thurso So that is kind of where the urge totour came fromrdquo

Bard in the Botanics has presented outdoorShakespeare within the grounds of GlasgowrsquosBotanic Gardens since 2003 This yearrsquoslsquoUnlikely Wondersrsquo season presented newproductions of Loversquos Labourrsquos Lost The Merchant of Venice Richard II and A Midsummer Nightrsquos Dream in lsquoreprsquo between24 June and 1 August

The companyrsquos founder Scott PalmerBarr explains had done a lot of his training atthe Oregon Shakespeare Festival one of the

biggest in North America ldquoWith the kindof drive and enthusiasm that only Americanshave he managed to convince the entire cityof Glasgow that outdoor Shakespeare would work and that the weather wasnrsquot going to be

a problemrdquoTwo years later Palmer moved on and Barr

ndash originally involved as a director ndash succeededhim as Artistic Director ldquoIf anyone then hadsaid that I would end up spending 12 yearsrunning an outdoor Shakespeare festival I wouldnrsquot have believed themrdquo he says in hisoffice hidden behind some of the Botanicsrsquogardening sheds ldquoI very quickly fell in love with it once I started working here Despiteall the trials and tribulations that outdoortheatre in Scotland brings with it therersquos just

something magical and special about it Itrsquos a very close-knit company and thatrsquos sort of keptus all here as long as we have beenrdquo

While the annual summer season ofShakespeare plays in the Botanics will remainat the centre of what the company does ndashldquoOtherwise Bard in the Botanics becomesa rather strange namerdquo ndash Barr is very much

Outof theGarden

This year has seen Glasgowrsquos Bard in the Botanicsdo something completely unexpected They wentout on a tour of ndash whisper it ndash indoor venueshellip

Scotland Shakes

42 SHAKESPEARE magazine

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Scotland Shakes

SHAKESPEARE magazine 43

focused on building on the touring side ldquoBecause it was our first ever tour we

did end up taking Romeo and Juliet to theestablished Scottish touring circuitrdquo he addsldquoIt takes a while to build up relationships with the smaller venues thatrsquos going to bean ongoing process for us Even so we weretaking Romeo and Juliet to places like Mulland Stranraer ndash communities and venues thathavenrsquot had a lot of classical theatre comingthrough themrdquo

The choice of play was deliberate too ldquoIt was a production that was ready to go whichhad received five star reviews and sold out itsextended run in the Botanics in 2012 So weknew that the work was good but therersquos nodoubt that for a first tour we wanted to makeit easier for the venues to sell it Most venuesknow they can find an audience for Romeo and Juliet rdquo

In time he hopes that audiences aroundthe rest of Scotland will come to trust the Bardin the Botanics name sufficiently to take on theless familiar plays

ldquoYou just donrsquot know how quickly acommunity is going to turn out for Henry IV yetrdquo he says ldquoHopefully three or four toursdown the line theyrsquore going to turn out forBard in the Botanics ndash and if it happens to be

Henry IV well thatrsquos greatrdquoGiven their reimagining of A MidsummerNightrsquos Dream as a 1920s burlesque musicalis there a particular Bard in the Botanicsapproach to Shakespeare

ldquoOur kind of unofficial motto is lsquoBe BoldBe Braversquordquo Barr says ldquoIf wersquore continuingto stage these plays around 400 years afterShakespearersquos death I think therersquos an urgencyto ask lsquoWhyrsquo It is important to questionlsquoWhat is the story that we want to tellrsquo I wantto see how these plays intersect with historyand todayrsquos society not to present museumpieces

ldquoItrsquos always with an eye to try to releasesomething thatrsquos within the textrdquo Barrinsists ldquoWersquore not remotely interested ininnovation for innovationrsquos sake The playsare masterpieces thatrsquos essentially why wersquorestill doing them 400 years later But to revealsomething thatrsquos unexpected or new thatrsquosimportant to usrdquo

Bard in the Botanics

wwwbardinthebotanicscouk

Rosalind and Audreyin the forest Bardin the Botanicsrsquo As You Like It

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Shakespeare at the Tobacco Factory stf 2016 Seasonco-production with Tobacco Factory Theatres

HAMLETBy William Shakespeare

Directed by Andrew Hilton

Main run Thu 11 February ndash Sat 26 March 2016

In repertoire with Allrsquos Well That Ends WellMon 25 ndash Wed 27 April Sat 30 April 2016

The most famous play in world drama Hamlet

turns a new face to every decade So many

elements - political madness sex murder ndash all

brought together in a drama that is both a thriller

and the profoundest meditation on our human

condition

ldquoThrilling workrdquo The Guardian on Romeo amp Juliet

ldquoBullseyerdquo WhatsOnStage on Romeo amp Juliet

Shakespeare at the Tobacco Factory Friends Priority Booking opens Wed 23 September 10am

wwwstf-theatreorguk

Tobacco Factory Theatres Members Priority Booking opens Wed 16 September 10am

wwwtobaccofactorytheatrescom

Public Booking opens Wed 30 September 10am

Tobacco Factory Box Office 0117 902 0344

ALLrsquoS WELL THAT ENDS WELLBy William Shakespeare

Directed by Andrew Hilton

Main run Thu 31 March ndash Sat 23 April 2016

In repertoire with Hamlet

Thu 28 ndash Fri 29 April Sat 30 April

A young woman using skills bequeathed herby her father saves the French Kingrsquos life and

is rewarded with the right to choose her own

husband But what if the chosen one wonrsquot play

the game How can she get him into bed How

can she make him love her

ldquo There is something approaching real

magic hererdquo The Arts Desk on The School for Scandal

P h o t o s M

a r k D o u e t

Dorothea MyerBennett in Richard III

Benjamin Whitrowand Julia Hills in The

School For Scandal

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Having conquered

Hollywood and vanquished

the global entertainment

industry video games now

on our culture So where

does the Bard stand in all of

this We sent a Shakespeare

scholar to investigatehellip

Words Andrew Bretz

Shakespeare video games

46 SHAKESPEARE magazine

T eGamersquos A oot Silent Hill is one

big-name gamewhich includesShakespearereferences

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Shakespeare video games

SHAKESPEARE magazine 47

German cardboard Macbeth datingfrom the early1800s

Hamlet reimaginedRyan Northrsquos To Be

Or Not To Be

W

hen you walk intothe wood panelled Victorian Gothicismof the Gail Kern Paster

Reading Room at theFolger Shakespeare Library in WashingtonDC video games are probably the lastthing on your mind Buried deep withinthe archives however are a set of fragilecardboard figures printed in Germany in theearly 1800s representing each of the maincharacters of Macbeth

Nineteenth century German children would play with these figures on smallcardboard stages no bigger than a dollhouseey could replicate the story as it was toldin Shakespeare or use their imagination tochange the ending letting Lady Macbethsurvive and bringing Duncan back from thedead if they so chosee limits of the game were the limits of their imagination

Today the lsquogamificationrsquo of Shakespeareis a big business from Ryan Northrsquos choose-your-own-adventure edition of Hamlet To Be Or Not To Be to IDW Gamesrsquosupcoming Kill Shakespeare board gamebased on the comic of the same name

Gamifying Shakespeare is filtering intoschools libraries and the theatrical worldas well with the University of California atDavis the Stratford Festival in Ontario theGlobeeatre in London and the LondonMetropolitan Archives all experimenting with video game elements in exhibits productionsand research

Why video games In a sense this is thelogical next step in the media development ofShakespeare Hersquos everywhere in other media

books movies merchandise But videogamese answer for that depends on whoyou ask

StorytellingOccasionally individuals or publishinghouses develop video games that try to tellthe story of say Hamlet yet this is relativelyrare One example would be Elsinore a time-looping narrative adventure game set in the world of the play Players play the game as

Ophelia who wakes up knowing that in fourdays the entire court will be dead and shemust do something to stop ite problemis that she is stuck in a time loop reliving thesame four days over and over againat said Shakespearersquos presence in the

video game industry tends to be focused oncitation rather than adaptation of the playsat is video games for Xbox Playstationand other popular gaming systems often

just cite Shakespearersquos plays as a part of acommon cultural heritageese games donrsquotrestage say Hamlet but they quote the playIn these cases Shakespeare is used to establisha point of identification for the audience His writing tells the audience something aboutthe character or the situation

Given that audiences are supposedto be able to identify the quotations asShakespearean it is unsurprising that Hamlet is the most popular text for game designers to

cite Ine Elder Scrolls Online for instancea merchant NPC (non-player character)quotes Polonius when players interact sayingldquoNeither a borrower nor a lender berdquoe words establish the NPCrsquos role as a merchant while fitting the medieval world of thegame In the game LA Noire upon pickingup a fake shrunken head at a crime scene adetective leaps into high melodrama withldquoAlas poor Yorick I knew him Horatiordquoequotation and the clever voice acting establish

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Shakespeare video games

48 SHAKESPEARE magazine

the characterrsquos strait-laced yet macabre senseof humour

Sometimes citing Shakespeare is a partof a critique of a larger theme In the game Mass E ff ect the Elcor are a race of elephantinealiens who preface all statements with adescription of the emotion they are feelingand who speak in a slow monotonous drone As players interact with the expansive worldthey can discover a number of advertisementsfor an all-Elcor Hamlet e idea of theElcor actor ndash the ultimate in a flat woodenperformer ndash having to preface ldquoTo be or not

to berdquo with ldquomorose ruminationrdquo goes beyondthe simple humour of a bad Shakespeareperformance It subtly asks what it is aboutacting (and especially voice acting) that isvaluable

Shakespeare can appear in video gamesnot merely as a marker or contextualisationtool but as a part of a puzzle For example inthe game Silent Hill 3 players must arrange aset of Shakespeare anthologies on a bookshelfin an abandoned shopping mall in order to

proceed in the game At the hardest levelthe puzzle clue takes the form of a poemthat references all the major tragedies Romeoand Juliet King Lear Macbeth Othello andof course Hamlet e bloody nature of thetragedies fits with the bloody nature of theSilent Hill series of games which fall into thesurvival horror genre

Popular video games have also servedas the inspiration for games that engage with Shakespeare in a more direct way For

example Daniel Fischlin at the Universityof Guelph in Ontario Canada led a teamthat created a Flash game called rsquoSpeare Itrsquos

a scrolling arcade-style game suggesting thersquo80s hit Galaga which sees players identifyingand navigating through a series of enemies who turn into words upon being destroyede player progresses through the levelsby collecting the correct words to createShakespearean quotes learning Shakespeareantrivia along the way

ImmersionOne of the most exciting aspects of videogames is the ability to immerse the player inthe world of the game in a way that othermedia simply cannot do Being able to walkaround Prosperorsquos cell Julietrsquos balcony orto stand before the ghost of Hamletrsquos fatheras he cries out ldquoList list O listrdquo ndash theseexperiences are made possible through videogame technology

Students of Scenic Arts at the Universityof Hildesheim in Germany created Projekt ARIEL or SturmMOD in 2008 using a lsquomodrsquo(or modification) to the engine that runs

the game Far Cry 1 e performance artproject allowed users to experience Prosperorsquosisland interacting with certain parts andexploring others Players could walk aroundan imaginative rendition of Prosperorsquos cell and witness or interact with elements of the playincluding diff erent characters like CalibanProspero and Miranda

Four days to savethe Danish court

Elsinore

Another Hamlet reference this timein LA Noire

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Shakespeare video games

SHAKESPEARE magazine 49

Gina Bloom at the University of Californiaat Davis is presently spearheading a projectthat will be demonstrated in the lobby of theStratford Festival theatre in Ontario Canadathis summere project Play the Knave AShakespeare Performance Videogame lets usersdesign a virtual performance space and thenperform a scene from a Shakespeare playinhabiting this constructed space with anavatar As a Davis insider explains ldquoWe use akinect motion capture camera to capture theuserrsquos skeletal data so that players use theirentire bodies to control their avatarrsquos gesturesonscreen all the while reciting the lines from

Shakespearersquos scenerdquo is literally immersesthe players in the scene

Shakespearersquos Globe eatre in Londontook another tactic regarding immersionin the production of the game HemmingsrsquoPlay Company Hosted on the Playgroundportion of the Globersquos website and thusaimed at an audience of children the gamehas players taking on the role of Hemmingsan Elizabethan bear who leads a troupe oftheatrical animals such as Kit the Cat Dekker

the Dog and Slye the Foxe turn-based game leads players through

the vagaries of Elizabethan theatre practicefrom patronage to lost props and the plagueBy the end of the game players must earnenough money to rebuild the Globe after itburns down during a performance of HenryVIII

Also from Shakespearersquos Globe are twoinnovative video experiences created forchildren aged five to 11 e first Exploring

Shakespeare features two boys on a tour ofthe Globe theatre who sneak off to explorebackstage e video illustrates four plays

using short animations that are keyedto things the boys find backstage etechnology combines live action film andanimation to create an interactive touchablegame Filled with mini-games quizzes andinteresting facts about Shakespeare the gameallows players to click through the narrativeor to stop and learn more as they go along

e second video called Staging It usesthe same technology as the first film but thistime is for the 11-16 age group In this gamee Globe has filmed two actors performingfamous duologues from A MidsummerNightrsquos Dream and Macbeth on the Globestage Rather than shoot it once the actorshave performed their lines in diff erent ways(happy flirtatious defensive and so on)creating several diff erent clips per linePlayers can watch each of the clips and addtheir choice to a dynamic storyboard tobuild up their final scene Impressively theplatform allows for up to 1000000 diff erentcombinations of clips

Apps and Mini-GamesItrsquos when you start to look outside of therealm of popular video game platformslike Xbox or Playstation that Shakespeare

Silent Hill 3 Brush upyour Shakespeare ifyou want to survive

Hemmingsrsquo PlayCompany fromShakespearersquosGlobe

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Shakespeare video games

50 SHAKESPEARE magazine

really starts to pop up wherever you looke ubiquity of Shakespeare is especiallynoticeable when you start to look at apps andmini-games designed for phones and tablets

In 2012 Big Fish Games released aniPhone and iPad game called Hamlet that featured all the main characters ofShakespearersquos play but transposed them intoa save-the-princess narrative puzzle game A time traveller lands in Denmark andaccidentally kills Hamlet and so players mustcomplete his journey for him saving Opheliaand killing Claudiuse Shakespeareancontent is minimal and heavily adapted andyet it fits with the puzzle format in whichShakespeare tends to be found in videogamese Chronicles of Shakespeare Romeo amp

Juliet ande Chronicles of Shakespeare A Midsummer Nightrsquos Dream are lusciously-illustrated puzzle games for the PC In themplayers act as one of the characters from theplays gathering items and clues through aShakespearean environment

Among the literally thousands of appsrelated to Shakespeare that can be found forthe iPad or Android tablet are

e Shakespearean Insult Creator which generates invectives drawn from a wholly Shakespearean vocabulary So nexttime you want to call someone a jerk trysomething more like ldquoou fusty follyfallenfustilarianrdquo

e Shakespeare Translator whichtranslates ldquonormal English words and phrasesinto the words of Shakespeare himselfrdquo

e Shakespeare Fortune Cookie which provides short quotes from the plays

and a small trivia game Shakespeare or Die a game that

scrambles the words of famous quotationsfrom the plays and asks you to identify theplay and character who spoke the line If youmake a mistake however beware the witchesese apps are either explicitly games or

they are coming out of a game-like impulse tomake Shakespeare more accessible to everyone with an internet connection

Brave New WorldsIn a world where Shakespeare is an industrycounted in the millions of dollars per yearit is so easy to forget that Shakespearersquos playsare just that ndash playsere is a sense of joyand fun and happiness embedded in theexperience of watching them Games are oneof the ways that people over the centuries

have tried to recapture that elusive sense ofplayfulness within Shakespeare So it makesperfect sense that now with the advent ofdigital technologies Shakespeare is movinginto the digital world with a vengeance

From big studio games likee ElderScrolls to small apps that can be downloadedfor free from talking bears to immersiveperformance experiences Shakespeare iseverywhere in video games Rather than beingan undiscovered country into which the Bard

is only just beginning to emerge games havein fact engaged with Shakespeare and his works for hundreds of years And they willprobably continue to do so for hundreds ofyears to come

rsquoSpeare is a scrollingarcade-stylegame with addedShakespeare trivia

Hamlet is aShakespeare-themed puzzle fromBig Fish Games

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Meet thy makers

Helen Mears fell into bardolatryduring her teenage years and has

never recovered She is a volunteersteward at Shakespearersquos Globe

which ensures a regular diet of theBard She teaches English Film andMedia at Suffolk New College and isa specialist in teaching Shakespeareusing active methods Her favouriteShakespearean actor is Jamie Parker

and her favourite plays are the SecondHistory Tetralogy She hopes to

finish her Masters in the AdvancedTeaching of Shakespeare very soonFind her on Twitter hipster_hels

Paul F Cockburn is an Edinburgh-based freelance magazine journalist who specialises in writing about

arts and culture equality issues andpopular science Hersquos sufficiently

grey-haired for his English Literaturetraining to have sort of overlapped

with The BBC Television Shakespeareproject saving at least some of the

plays from death by academiaFind him on Twitter paulfcockburn

Jen Richardson first fell in love withShakespeare as a 15-year-old schoolgirl

ldquoHe got under my skin and hersquos still theretodayrdquo After training with a Manchester-based drama tutor she went on to pursuean acting career Drama remains a greatinterest but her focus is now on sharing

her passion for Shakespeare throughher writing In her spare time Jen is

generally down in Stratford-upon-Avonsitting on her favourite bench behind

Holy Trinity ChurchFind her on Twitter The_JenJen

Andrew Bretz is a sessional instructorof English Literature and Drama

specialising in early modern dramaHe has taught at Wilfrid LaurierUniversity the University of Guelph

Brock University and McMasterUniversity For the past two years he

has taught a special summer intensiveat Ontariorsquos Stratford Festival His PhDdissertation was on the representationof sexual violence on the early modern

stage Find him on TwitterAndrewBretz001

Just some of the contributors to this issue of Shakespeare Magazine

Rosalind Lyons is a painter whohas exhibited widely in both mixedand solo shows with work in UK

and international private collections A life-long love of Shakespeare isreflected in many of her paintings

and a particular recent focus isShakespearersquos Globe theatre where shespent a period as artist-in-residenceShe is currently studying for a PhD

in Painting and ShakespeareanTheatre at Anglia Ruskin University

in CambridgeFind her on Twitter roslyons

52 SHAKESPEARE magazine

Contributors

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Page 31: Shakespeare Magazine 08

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of an imaginary world and I am particularlyattracted to the fools fairies and witchesIn A Midsummer Nightrsquos Dream the fairiesrsquoactions may seem malevolent or benign or just mischievous but there is definitely a dark

side an underlying sense of threate Fool too is intriguing Shakespearersquosfools frequently describe themselvesor are referred to as a nobody but areunquestionably much moree fool is anoutsider concerned with but at the same timeseparate from the story He ndash or sometimesshe ndash doesnrsquot quite belong anywhere butseems to exist on the boundary between thefamiliar and the uncanny

I am attracted to the strange to mysteryand shadows and try to express through myimages a strong feeling that it could be thator maybe something else As Orsino says atthe conclusion of Twelfth Night ldquoA naturalperspective that is and is notrdquo While makinga painting and even when it is finished Idonrsquot know really who my characters are ndashthey remain elusive But I like not knowingand ultimately meanings always change anddepend on individual perceptions

My experience at the Globe led to aparticular fascination with the ambiguous and

protean quality of the theatrical performerhow their identity transforms and fluctuatesI was attracted by this when watching

Rosalind Lyons

SHAKESPEARE magazine 31

Above A MidwinterNightrsquos Dream

Right Three Fools

Far right FollowingDarkness

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rehearsals observing actors shift between selfand impersonation between diff erent realitiesand identities When they are not acting theyndash metaphorically and often literally ndash melt

into the shadows I am interested too in thephysical and symbolic threshold between lsquoonrsquoand lsquooff rsquo-stage the transformation inherentin an actor moving from the wings onto thestage assuming another self and anotheridentity Particularly evocative is the fact thatactors were colloquially known as shadowsin the Elizabethan playhouses ndash suggestingsomething unknowable and insubstantialIn the Prologue to Henry V Shakespeare hasthe Chorus describe the players as lsquociphersrsquoimplying deception and secrecy

Artists in the past who have tackledShakespeare have generally produced imagesthat directly illustrate the text or representfamous actors or scenes from a particularperformance Today as well as on the stageShakespearersquos plays are frequently re-imaginedin very successful film and TV adaptationsbut I have struggled to find more than ahandful of contemporary fine artists whohave engaged with Shakespeare on any levelPerhaps Shakespeare as a subject is seen

by some as too traditional too lsquopopularrsquoor simply just too lsquooldrsquo But in the theatreand in literature there is an ever-increasingenthusiasm for innovative interpretationsof the plays and for me Shakespeare is aconstant inspiration

e Prologue of Henry V also urges theaudience to ldquoPiece out our imperfections withyour thoughtsrdquo to liberate the imaginationand create another kind of reality to shapeour own fantasies within the ldquowooden Ordquo of

the theatre In my paintings I endeavour todo the same

Explore the work of Rosalind Lyons atwwwrosalindlyonscom

Above These Two CreaturesBelow Therersquos Magic In Thy Majesty

Roaslind Lyons

32 SHAKESPEARE magazine

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$amp( ) +-01

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Aidan OrsquoReilly

34 SHAKESPEARE magazine

Looking forRichard AidanOrsquoReilly is playingShakespearersquosbaddest monarch

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Aidan OrsquoReilly

SHAKESPEARE magazine 35

You are legally blind having been

diagnosed with retinoblastoma as an

infant How did this impact on your

acting aspirations and early career

ldquoMy parents did a good job raising me Inever grew up thinking of it as a handicap orthinking it could hold me back from what I wanted to do I couldnrsquot play sports at all soI think my parents were grateful that I hadsomething that I was passionate about from avery young age

ldquoI went to a public elementary school with a program designed for the blind so itfelt very natural for me to be the way that I was And acting has always been part of thatrdquo

You went to RADA in London Was

there a reason why you wanted to

train in England and not in the US

ldquoItrsquos always been an ambition of mine to

travel as far and wide as possible Also myhero growing up was Peter OrsquoToole ndash Iread his autobiography in high school andlearned he had gone to RADA and decided I wanted to go there too So I auditioned therenot knowing that RADA is arguably thebest drama school in the English-speaking world Consequently I was quite relaxed atthe audition which is probably why I gotin My ignorance can sometimes serve me well Going to RADA was a life-changing

Aidan OrsquoReilly is an actor with an

inspiring story Legally blind since he

was six months old he forged a passionfor drama at an early age Aidan went

on to gain a BA with honours from

Londonrsquos Royal Academy of Dramatic

Art before touring for three years with

the American Shakespeare Center

In 2012 Aidan was diagnosed with

sarcoma a rare cancer He bounced

back in 2014 after intensive treatment

and is now cancer-free We spoke to

Aidan as he prepared to play the title

role in Richard III for Californiarsquos Marin

Shakespeare Company We asked himto share his story and to give us his

take on one of Shakespearersquos most

fascinating characters

Interview by Jen Richardson

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Aidan OrsquoReilly

36 SHAKESPEARE magazine

experience I was lucky enough to havecontact with brilliant professors and Irsquom stillin awe of the students I went to school withI wouldnrsquot trade that experience for anythingrdquo After graduating from RADA you

went on the road with the American

Shakespeare Center Tell us a bit

about that

ldquoThat was one of the happiest times of mylife In many ways I got spoiled I was a working actor 11 months out of the yeartouring nationally seeing parts of the USI had never been to before doing plays Iloved and working with directors who werevehemently faithful and respectful to the text When I wasnrsquot on the road I was in residenceat the Blackfriars Playhouse in StauntonVirginia with many extraordinary actorsI was very lucky to be thererdquo

Three years ago you were diagnosed

with sarcoma How did you

overcome this enormous challenge

and return to the stage in 2014

ldquoThe only reason Irsquom still alive is because ofmy mother Lily and my wife Jocelynn AlsoI was fortunate that we caught it before it hadspread and it was on my leg and away fromany major organs

ldquoI am very grateful for my team of doctorsat UCSF who did an incredible job in mytreatment and follow-up care Irsquom glad to beback to workrdquo Yoursquore now due to play Richard III

with Marin Shakespeare Company

Howrsquos it going so far

ldquoAt this point Irsquom in the paperwork stage

of things A lot of reading the HenryVI s biographies of Richard as well asperformance history of the play itself Irsquomdoing a fair amount of limping around myapartment as well I canrsquot wait to get intorehearsals next weekrdquo Tell us about Marin Shakespeare

Company and what appealed to you

about working with them

ldquoRobert and Lesley [Currier MSCrsquos Artistic

Director and Managing Director] arefascinating people Their intelligence andhumour is contagious Without questionthere is a lot to be learned from themrdquo Richard IIIrsquos remains were discovered

in 2012 and reburied this year Is all

the new information about Richard

influencing your portrayal

ldquoYes and no My job isnrsquot to play the historicalRichard but the Richard that Shakespeare has

Aidan believesthat Richard IIIrsquosobsession withcontrol is whatcauses his downfall

ldquoPeter OrsquoToole wasmy hero He went to

RADA so I wanted to go there toordquo

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Crowning gloryAidan with MarinShakespearersquosRobert Currier

created Itrsquos helpful to know the facts of thesituation in order to gain insight into whathas been changed in Shakespearersquos versionof events

ldquoI met with a friend of mine who is a

retired surgeon who walked me through themedical information that has come to lighton Richardrsquos body and I will certainly usethat to inform my physical choicesrdquo Unlike many actors yoursquore the right

age to play the historical Richard III

Do you feel Richardrsquos relative youth

has been overlooked

ldquoI do Richard is a young man who believeshe is hardened by the experiences he andhis family endured during the War of theRoses and believes himself to be beyondhuman emotions and the lsquorestrictionsrsquo of aconscience He isnrsquot He pays the bill for thehorrible things he does That lack of self-knowledge is not exclusive to youth but I feelit makes him more sympathetic and relatableto an audiencerdquo Some people think Richard III shows

Shakespeare delivering a highly

effective piece of Tudor propaganda

Where do you stand on thatldquoI think Shakespeare has a soft spot foroutsiders and underdogs Although his playssometimes work within the confines of thebiases of Elizabethan society he canrsquot help butmake his lsquovillainsrsquo fascinating human beings

For as horrible as Richard is itrsquos amazing tosee how audiences relate and respond to himrdquo Which other important themes do

you feel Shakespeare deals with in

the playldquoThe history plays are full of extraordinarypeople who waste their lives and intelligence who sacrifice their humanity in pursuit of thecrown Itrsquos still happening today What is theattraction of power Richard never pauses tothink of why he wants the crown or if hersquodbe any good as king Turns out hersquos not butitrsquos this bizarre obsession with control thatpropels him to kill everyone off thatrsquos in his way Itrsquos also fascinating that the one characterthat is consistently kind to Richard is hisfather York

ldquoI think an argument can be made thatRichard in his warped way is trying to liveup to the image he has of his father Ofcourse York is dead and gone by the timeRichard III begins but you can glean a lotabout Richardrsquos inner workings in the way hespeaks about his father Of course itrsquos foolishto try to answer questions that Shakespearedoesnrsquot and Irsquom not trying to say this solvesa mystery but I think itrsquos interesting Itrsquos only

an element itrsquos not the answerrdquo Richard III is listed as a historical

play in the First Folio but in the

quarto edition it is termed a tragedy

Which category would you put the

play in and why

ldquoI think of the history plays from Richard II to Richard III as one vast play an epic thatencompasses all the categories I think if youlook at Richardrsquos progression through those

plays you see a great mind warped by the War of the Roses and that certainly adds tothe tragic element I think of Richard III asthe final chapter of a great epicrdquo

Aidan OrsquoReilly stars in Marin ShakespeareCompanyrsquos Richard III from 4-27 September

Aidan OrsquoReilly

SHAKESPEARE magazine 37

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Scotland Shakes

SHAKESPEARE magazine 39

Bonnie Prince

Brian Fergusonas Hamlet in theCitizens Theatre

production Photoby Tim Morozzo

Billy William Shakespeare is undoubtedly Englandrsquos

Bard But how is he viewed north of the border

Our Caledonian correspondent surveys the state

of Shakespeare in Scotland and meets esteemed

outdoor theatre company Bard in the Botanics

Words Paul F Cockburn

T owards the end of May thisyear a BBC Scotland afternoon

news bulletin surprisinglyturned its attention to aforthcoming production of

ldquoone of William Shakespearersquos best lovedplaysrdquo ndash A Midsummer Nightrsquos DreamHowever this particular production wasnrsquotconsidered newsworthy because it came froman amateur group based in Dumfries andGalloway Not even that the CrossmichaelDrama Club were one of just seven amateurScottish groups taking part in the Royal

Shakespeare Companyrsquos Open Stages project which aims to help amateur companies

extend their repertoiresNo the lsquohookrsquo was how this newproduction was Shakespeare ldquobut no asyou micht ken itrdquo Because it had beenreimagined in Scots as A MidsimmerNichtrsquos Dreme

As it happens writer John Burns saysthat his principle reason for translating AMidsimmer Nichtrsquos Dreme was simply theintuition that it being in Scots would workto the benefit of the production ldquoItrsquos not

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Scotland Shakes

40 SHAKESPEARE magazine

so much that 16th century English canrsquot docertain things more that using Scots brings itcloser to a Scottish audience and to audiences who might think Shakespeare too fancyrdquo hesays ldquoI feel too that Scots can catch the sheerphysical power of Shakespearersquos language He writes lines you really feel physically when

you say them out loud My intention was touse Scots to produce a text that was actableand which would be accessible and enjoyablefor the audience and the Scots was a majorpart of thatrdquo

Arguably translating Shakespeare intoScots ndash viewed by many as a distinct languagefrom English ndash is just one way of finding thecontinued relevancies of Shakespearersquos writing with the here and now Certainly John Burns was keen to see if Scots ldquocould match the way

Shakespeare switches tonehellip from broad attimes bawdy humour to moments that aremore serious or even sinisterrdquo

Yet there is a wider perspective whether wersquore discussing translation into Scots orsaying Shakespearersquos words with a Scottishaccent Willy Maley and Andrew Murphyin their introduction to Shakespeare andScotland (published by Manchester UniversityPress in 2004) go as far as describing thetranslation of Shakespearersquos Macbeth into

Scots as ldquoa patriotic actrdquo not least becauseof ldquothe political commitment implicit intranslating from English to Scots reversing

the dominant dubbing practice infi

lmsrdquoGlasgow-based novelist and playwright Alan Bissett ndash who actively campaigned fora Yes vote during last yearrsquos IndependenceReferendum ndash has since written about howsince the 1970s Scottish theatre had ldquoadeep engagement with the shifting beastof Scottish politicsrdquo Although Bissett wasfocusing primarily on original works byScottish playwrights and directors itrsquos worthpointing out that Shakespeare ndash despite therebeing absolutely no evidence to prove he evertravelled north of Carlisle ndash has played hisown part in this

As Maley and Murphy point outldquoScotlandhellip never had precisely the samerelationship with the Bard as England hasbut has experienced a fraught process ofappropriation incorporation and resistancerdquoIn part this is because Shakespeare ndash in hislatter career ndash was among the first lsquoBritishrsquo writers Many of his later plays ndash Cymbeline King Lear even Hamlet ndash were produced

A tartan-cladAntipholus andDromio in Bard inthe Botanicsrsquo TheComedy of Errors

Brian FergusonrsquosHamlet CitizensTheatre productionPhoto by TimMorozzo

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under the patronage of Scotlandrsquos King JamesVI (aka James I of England) Each in theirown way can be said to touch on ldquothe matterof Britainrdquo the complex relationship between

the constituent elements of Jamesrsquos newlsquounitedrsquo kingdom which the Stuart monarch was determined to see joined into oneat never quite happened of course

Even after the 1707 Act of UnionScotland retained its own legal educationaland religious systems along with anaccompanying sense of Scottish identity ndash which survived even the height of the Britishempire Yet from the 1970s on there havebeen notable changes in how Shakespeareis treated by Scotlandrsquos producing theatrecompanies Several years ago GlasgowrsquosCitizenseatre delivered a powerful Romeoand Juliet in part because of their decision toset the action in a present-day sectarian Westof Scotland ndash with accents to match

ldquoEnglish-accented Shakespeare carriesa specific resonance in Scotland one thatdirectors usually choose to avoidrdquo pointsout Mark Fisher a freelance journalist criticand author of the forthcoming book How toWrite Abouteatre

ldquoIrsquom not sure exactly when attitudesstarted to change but Irsquod say the argumentin favour of Scottish-accented productionshad been pretty much won by the 1990sBy that time companies such as Raindogand directors such as Hamish Glen hadbeen making a point of casting very Scottishproductions of Shakespearerdquo

One example of how things hadprogressed even by 1992 was the late KennyIrelandrsquos production of A Midsummer

Nightrsquos Dream his first as Artistic Directorat Edinburghrsquos Royal Lyceum ldquoHe castthe mechanicals with Scottish accents andeveryone else with English accentsrdquo MarkFisher explains ldquois I said in my review wasa fundamental error ndash or some such phrasee message it sent out was that people withScottish accents were foolish figures of fun whereas people with English accents wereserious figures of respect

ldquoIreland reacted furiously to my review

and made the case that he had based thecasting of the mechanicals around (the actor) Andy Gray who has a Scottish accent Inother words the meaning I inferred hadnot been deliberate I think itrsquos true to sayhowever that Ireland never cast a Shakespearelike that againrdquo

Gordon Barr is Artistic Director of

Glasgow-based Bard in the BotanicsScotlandrsquos only professional Shakespearecompany (see following pages)

ldquoWersquove never gone out of our way tomake Scottish versions of these texts norhave we gone out of our way to have classicaltraditional voicesrdquo he says ldquoMost of our coreactors have made their careers up here so wethink of them as Scottish actors

ldquoat is important to us to not overlylook outwards for the acting company As

much as possible we work with people who are based in Scotland Wersquore regularlyproducing Shakespeare here and we want tobe a part of the training to ensure that there isa range of strong classical actors hererdquo

Citizens Theatrewwwcitzcouk

Owen Whitehawas the Fool andDavid Hayman asLear in CitizensTheatrersquos King Lear Photo by TimMorozzo

Scotland Shakes

SHAKESPEARE magazine 41

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Bard in theBotanicsrsquo As You Like

It takes Rosalind andOrlando into theopen air

ldquoTouring is something that we have wanted to do foryears but was somethingthat we could not afford

to do without fundingrdquo says Gordon Barr Artistic Director of Scotlandrsquos only professionaloutdoor Shakespeare festival Bard in theBotanics If therersquos any irony attached tothe companyrsquos first major tour of Scotland which took place in early 2015 itrsquos that theperformances of their acclaimed Romeo and Juliet ndash featuring a cast of five ndash were playedexclusively indoors

ldquoNobody is touring classical theatre in

Scotland at the minute so itrsquos importantto usrdquo Barr adds ldquoOur work is so muchabout accessibility One of the joys of beingoutdoors is that people come to see the work who wouldnrsquot buy a ticket for a theatre Ifyou can bring a picnic sit out on the grass while watching the show it feels easier moreaccessible But people canrsquot come from Thursoto Glasgow for a night just to see a productionof Shakespeare They should be able to see itin Thurso So that is kind of where the urge totour came fromrdquo

Bard in the Botanics has presented outdoorShakespeare within the grounds of GlasgowrsquosBotanic Gardens since 2003 This yearrsquoslsquoUnlikely Wondersrsquo season presented newproductions of Loversquos Labourrsquos Lost The Merchant of Venice Richard II and A Midsummer Nightrsquos Dream in lsquoreprsquo between24 June and 1 August

The companyrsquos founder Scott PalmerBarr explains had done a lot of his training atthe Oregon Shakespeare Festival one of the

biggest in North America ldquoWith the kindof drive and enthusiasm that only Americanshave he managed to convince the entire cityof Glasgow that outdoor Shakespeare would work and that the weather wasnrsquot going to be

a problemrdquoTwo years later Palmer moved on and Barr

ndash originally involved as a director ndash succeededhim as Artistic Director ldquoIf anyone then hadsaid that I would end up spending 12 yearsrunning an outdoor Shakespeare festival I wouldnrsquot have believed themrdquo he says in hisoffice hidden behind some of the Botanicsrsquogardening sheds ldquoI very quickly fell in love with it once I started working here Despiteall the trials and tribulations that outdoortheatre in Scotland brings with it therersquos just

something magical and special about it Itrsquos a very close-knit company and thatrsquos sort of keptus all here as long as we have beenrdquo

While the annual summer season ofShakespeare plays in the Botanics will remainat the centre of what the company does ndashldquoOtherwise Bard in the Botanics becomesa rather strange namerdquo ndash Barr is very much

Outof theGarden

This year has seen Glasgowrsquos Bard in the Botanicsdo something completely unexpected They wentout on a tour of ndash whisper it ndash indoor venueshellip

Scotland Shakes

42 SHAKESPEARE magazine

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Scotland Shakes

SHAKESPEARE magazine 43

focused on building on the touring side ldquoBecause it was our first ever tour we

did end up taking Romeo and Juliet to theestablished Scottish touring circuitrdquo he addsldquoIt takes a while to build up relationships with the smaller venues thatrsquos going to bean ongoing process for us Even so we weretaking Romeo and Juliet to places like Mulland Stranraer ndash communities and venues thathavenrsquot had a lot of classical theatre comingthrough themrdquo

The choice of play was deliberate too ldquoIt was a production that was ready to go whichhad received five star reviews and sold out itsextended run in the Botanics in 2012 So weknew that the work was good but therersquos nodoubt that for a first tour we wanted to makeit easier for the venues to sell it Most venuesknow they can find an audience for Romeo and Juliet rdquo

In time he hopes that audiences aroundthe rest of Scotland will come to trust the Bardin the Botanics name sufficiently to take on theless familiar plays

ldquoYou just donrsquot know how quickly acommunity is going to turn out for Henry IV yetrdquo he says ldquoHopefully three or four toursdown the line theyrsquore going to turn out forBard in the Botanics ndash and if it happens to be

Henry IV well thatrsquos greatrdquoGiven their reimagining of A MidsummerNightrsquos Dream as a 1920s burlesque musicalis there a particular Bard in the Botanicsapproach to Shakespeare

ldquoOur kind of unofficial motto is lsquoBe BoldBe Braversquordquo Barr says ldquoIf wersquore continuingto stage these plays around 400 years afterShakespearersquos death I think therersquos an urgencyto ask lsquoWhyrsquo It is important to questionlsquoWhat is the story that we want to tellrsquo I wantto see how these plays intersect with historyand todayrsquos society not to present museumpieces

ldquoItrsquos always with an eye to try to releasesomething thatrsquos within the textrdquo Barrinsists ldquoWersquore not remotely interested ininnovation for innovationrsquos sake The playsare masterpieces thatrsquos essentially why wersquorestill doing them 400 years later But to revealsomething thatrsquos unexpected or new thatrsquosimportant to usrdquo

Bard in the Botanics

wwwbardinthebotanicscouk

Rosalind and Audreyin the forest Bardin the Botanicsrsquo As You Like It

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Shakespeare at the Tobacco Factory stf 2016 Seasonco-production with Tobacco Factory Theatres

HAMLETBy William Shakespeare

Directed by Andrew Hilton

Main run Thu 11 February ndash Sat 26 March 2016

In repertoire with Allrsquos Well That Ends WellMon 25 ndash Wed 27 April Sat 30 April 2016

The most famous play in world drama Hamlet

turns a new face to every decade So many

elements - political madness sex murder ndash all

brought together in a drama that is both a thriller

and the profoundest meditation on our human

condition

ldquoThrilling workrdquo The Guardian on Romeo amp Juliet

ldquoBullseyerdquo WhatsOnStage on Romeo amp Juliet

Shakespeare at the Tobacco Factory Friends Priority Booking opens Wed 23 September 10am

wwwstf-theatreorguk

Tobacco Factory Theatres Members Priority Booking opens Wed 16 September 10am

wwwtobaccofactorytheatrescom

Public Booking opens Wed 30 September 10am

Tobacco Factory Box Office 0117 902 0344

ALLrsquoS WELL THAT ENDS WELLBy William Shakespeare

Directed by Andrew Hilton

Main run Thu 31 March ndash Sat 23 April 2016

In repertoire with Hamlet

Thu 28 ndash Fri 29 April Sat 30 April

A young woman using skills bequeathed herby her father saves the French Kingrsquos life and

is rewarded with the right to choose her own

husband But what if the chosen one wonrsquot play

the game How can she get him into bed How

can she make him love her

ldquo There is something approaching real

magic hererdquo The Arts Desk on The School for Scandal

P h o t o s M

a r k D o u e t

Dorothea MyerBennett in Richard III

Benjamin Whitrowand Julia Hills in The

School For Scandal

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Having conquered

Hollywood and vanquished

the global entertainment

industry video games now

on our culture So where

does the Bard stand in all of

this We sent a Shakespeare

scholar to investigatehellip

Words Andrew Bretz

Shakespeare video games

46 SHAKESPEARE magazine

T eGamersquos A oot Silent Hill is one

big-name gamewhich includesShakespearereferences

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Shakespeare video games

SHAKESPEARE magazine 47

German cardboard Macbeth datingfrom the early1800s

Hamlet reimaginedRyan Northrsquos To Be

Or Not To Be

W

hen you walk intothe wood panelled Victorian Gothicismof the Gail Kern Paster

Reading Room at theFolger Shakespeare Library in WashingtonDC video games are probably the lastthing on your mind Buried deep withinthe archives however are a set of fragilecardboard figures printed in Germany in theearly 1800s representing each of the maincharacters of Macbeth

Nineteenth century German children would play with these figures on smallcardboard stages no bigger than a dollhouseey could replicate the story as it was toldin Shakespeare or use their imagination tochange the ending letting Lady Macbethsurvive and bringing Duncan back from thedead if they so chosee limits of the game were the limits of their imagination

Today the lsquogamificationrsquo of Shakespeareis a big business from Ryan Northrsquos choose-your-own-adventure edition of Hamlet To Be Or Not To Be to IDW Gamesrsquosupcoming Kill Shakespeare board gamebased on the comic of the same name

Gamifying Shakespeare is filtering intoschools libraries and the theatrical worldas well with the University of California atDavis the Stratford Festival in Ontario theGlobeeatre in London and the LondonMetropolitan Archives all experimenting with video game elements in exhibits productionsand research

Why video games In a sense this is thelogical next step in the media development ofShakespeare Hersquos everywhere in other media

books movies merchandise But videogamese answer for that depends on whoyou ask

StorytellingOccasionally individuals or publishinghouses develop video games that try to tellthe story of say Hamlet yet this is relativelyrare One example would be Elsinore a time-looping narrative adventure game set in the world of the play Players play the game as

Ophelia who wakes up knowing that in fourdays the entire court will be dead and shemust do something to stop ite problemis that she is stuck in a time loop reliving thesame four days over and over againat said Shakespearersquos presence in the

video game industry tends to be focused oncitation rather than adaptation of the playsat is video games for Xbox Playstationand other popular gaming systems often

just cite Shakespearersquos plays as a part of acommon cultural heritageese games donrsquotrestage say Hamlet but they quote the playIn these cases Shakespeare is used to establisha point of identification for the audience His writing tells the audience something aboutthe character or the situation

Given that audiences are supposedto be able to identify the quotations asShakespearean it is unsurprising that Hamlet is the most popular text for game designers to

cite Ine Elder Scrolls Online for instancea merchant NPC (non-player character)quotes Polonius when players interact sayingldquoNeither a borrower nor a lender berdquoe words establish the NPCrsquos role as a merchant while fitting the medieval world of thegame In the game LA Noire upon pickingup a fake shrunken head at a crime scene adetective leaps into high melodrama withldquoAlas poor Yorick I knew him Horatiordquoequotation and the clever voice acting establish

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Shakespeare video games

48 SHAKESPEARE magazine

the characterrsquos strait-laced yet macabre senseof humour

Sometimes citing Shakespeare is a partof a critique of a larger theme In the game Mass E ff ect the Elcor are a race of elephantinealiens who preface all statements with adescription of the emotion they are feelingand who speak in a slow monotonous drone As players interact with the expansive worldthey can discover a number of advertisementsfor an all-Elcor Hamlet e idea of theElcor actor ndash the ultimate in a flat woodenperformer ndash having to preface ldquoTo be or not

to berdquo with ldquomorose ruminationrdquo goes beyondthe simple humour of a bad Shakespeareperformance It subtly asks what it is aboutacting (and especially voice acting) that isvaluable

Shakespeare can appear in video gamesnot merely as a marker or contextualisationtool but as a part of a puzzle For example inthe game Silent Hill 3 players must arrange aset of Shakespeare anthologies on a bookshelfin an abandoned shopping mall in order to

proceed in the game At the hardest levelthe puzzle clue takes the form of a poemthat references all the major tragedies Romeoand Juliet King Lear Macbeth Othello andof course Hamlet e bloody nature of thetragedies fits with the bloody nature of theSilent Hill series of games which fall into thesurvival horror genre

Popular video games have also servedas the inspiration for games that engage with Shakespeare in a more direct way For

example Daniel Fischlin at the Universityof Guelph in Ontario Canada led a teamthat created a Flash game called rsquoSpeare Itrsquos

a scrolling arcade-style game suggesting thersquo80s hit Galaga which sees players identifyingand navigating through a series of enemies who turn into words upon being destroyede player progresses through the levelsby collecting the correct words to createShakespearean quotes learning Shakespeareantrivia along the way

ImmersionOne of the most exciting aspects of videogames is the ability to immerse the player inthe world of the game in a way that othermedia simply cannot do Being able to walkaround Prosperorsquos cell Julietrsquos balcony orto stand before the ghost of Hamletrsquos fatheras he cries out ldquoList list O listrdquo ndash theseexperiences are made possible through videogame technology

Students of Scenic Arts at the Universityof Hildesheim in Germany created Projekt ARIEL or SturmMOD in 2008 using a lsquomodrsquo(or modification) to the engine that runs

the game Far Cry 1 e performance artproject allowed users to experience Prosperorsquosisland interacting with certain parts andexploring others Players could walk aroundan imaginative rendition of Prosperorsquos cell and witness or interact with elements of the playincluding diff erent characters like CalibanProspero and Miranda

Four days to savethe Danish court

Elsinore

Another Hamlet reference this timein LA Noire

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Shakespeare video games

SHAKESPEARE magazine 49

Gina Bloom at the University of Californiaat Davis is presently spearheading a projectthat will be demonstrated in the lobby of theStratford Festival theatre in Ontario Canadathis summere project Play the Knave AShakespeare Performance Videogame lets usersdesign a virtual performance space and thenperform a scene from a Shakespeare playinhabiting this constructed space with anavatar As a Davis insider explains ldquoWe use akinect motion capture camera to capture theuserrsquos skeletal data so that players use theirentire bodies to control their avatarrsquos gesturesonscreen all the while reciting the lines from

Shakespearersquos scenerdquo is literally immersesthe players in the scene

Shakespearersquos Globe eatre in Londontook another tactic regarding immersionin the production of the game HemmingsrsquoPlay Company Hosted on the Playgroundportion of the Globersquos website and thusaimed at an audience of children the gamehas players taking on the role of Hemmingsan Elizabethan bear who leads a troupe oftheatrical animals such as Kit the Cat Dekker

the Dog and Slye the Foxe turn-based game leads players through

the vagaries of Elizabethan theatre practicefrom patronage to lost props and the plagueBy the end of the game players must earnenough money to rebuild the Globe after itburns down during a performance of HenryVIII

Also from Shakespearersquos Globe are twoinnovative video experiences created forchildren aged five to 11 e first Exploring

Shakespeare features two boys on a tour ofthe Globe theatre who sneak off to explorebackstage e video illustrates four plays

using short animations that are keyedto things the boys find backstage etechnology combines live action film andanimation to create an interactive touchablegame Filled with mini-games quizzes andinteresting facts about Shakespeare the gameallows players to click through the narrativeor to stop and learn more as they go along

e second video called Staging It usesthe same technology as the first film but thistime is for the 11-16 age group In this gamee Globe has filmed two actors performingfamous duologues from A MidsummerNightrsquos Dream and Macbeth on the Globestage Rather than shoot it once the actorshave performed their lines in diff erent ways(happy flirtatious defensive and so on)creating several diff erent clips per linePlayers can watch each of the clips and addtheir choice to a dynamic storyboard tobuild up their final scene Impressively theplatform allows for up to 1000000 diff erentcombinations of clips

Apps and Mini-GamesItrsquos when you start to look outside of therealm of popular video game platformslike Xbox or Playstation that Shakespeare

Silent Hill 3 Brush upyour Shakespeare ifyou want to survive

Hemmingsrsquo PlayCompany fromShakespearersquosGlobe

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Shakespeare video games

50 SHAKESPEARE magazine

really starts to pop up wherever you looke ubiquity of Shakespeare is especiallynoticeable when you start to look at apps andmini-games designed for phones and tablets

In 2012 Big Fish Games released aniPhone and iPad game called Hamlet that featured all the main characters ofShakespearersquos play but transposed them intoa save-the-princess narrative puzzle game A time traveller lands in Denmark andaccidentally kills Hamlet and so players mustcomplete his journey for him saving Opheliaand killing Claudiuse Shakespeareancontent is minimal and heavily adapted andyet it fits with the puzzle format in whichShakespeare tends to be found in videogamese Chronicles of Shakespeare Romeo amp

Juliet ande Chronicles of Shakespeare A Midsummer Nightrsquos Dream are lusciously-illustrated puzzle games for the PC In themplayers act as one of the characters from theplays gathering items and clues through aShakespearean environment

Among the literally thousands of appsrelated to Shakespeare that can be found forthe iPad or Android tablet are

e Shakespearean Insult Creator which generates invectives drawn from a wholly Shakespearean vocabulary So nexttime you want to call someone a jerk trysomething more like ldquoou fusty follyfallenfustilarianrdquo

e Shakespeare Translator whichtranslates ldquonormal English words and phrasesinto the words of Shakespeare himselfrdquo

e Shakespeare Fortune Cookie which provides short quotes from the plays

and a small trivia game Shakespeare or Die a game that

scrambles the words of famous quotationsfrom the plays and asks you to identify theplay and character who spoke the line If youmake a mistake however beware the witchesese apps are either explicitly games or

they are coming out of a game-like impulse tomake Shakespeare more accessible to everyone with an internet connection

Brave New WorldsIn a world where Shakespeare is an industrycounted in the millions of dollars per yearit is so easy to forget that Shakespearersquos playsare just that ndash playsere is a sense of joyand fun and happiness embedded in theexperience of watching them Games are oneof the ways that people over the centuries

have tried to recapture that elusive sense ofplayfulness within Shakespeare So it makesperfect sense that now with the advent ofdigital technologies Shakespeare is movinginto the digital world with a vengeance

From big studio games likee ElderScrolls to small apps that can be downloadedfor free from talking bears to immersiveperformance experiences Shakespeare iseverywhere in video games Rather than beingan undiscovered country into which the Bard

is only just beginning to emerge games havein fact engaged with Shakespeare and his works for hundreds of years And they willprobably continue to do so for hundreds ofyears to come

rsquoSpeare is a scrollingarcade-stylegame with addedShakespeare trivia

Hamlet is aShakespeare-themed puzzle fromBig Fish Games

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Meet thy makers

Helen Mears fell into bardolatryduring her teenage years and has

never recovered She is a volunteersteward at Shakespearersquos Globe

which ensures a regular diet of theBard She teaches English Film andMedia at Suffolk New College and isa specialist in teaching Shakespeareusing active methods Her favouriteShakespearean actor is Jamie Parker

and her favourite plays are the SecondHistory Tetralogy She hopes to

finish her Masters in the AdvancedTeaching of Shakespeare very soonFind her on Twitter hipster_hels

Paul F Cockburn is an Edinburgh-based freelance magazine journalist who specialises in writing about

arts and culture equality issues andpopular science Hersquos sufficiently

grey-haired for his English Literaturetraining to have sort of overlapped

with The BBC Television Shakespeareproject saving at least some of the

plays from death by academiaFind him on Twitter paulfcockburn

Jen Richardson first fell in love withShakespeare as a 15-year-old schoolgirl

ldquoHe got under my skin and hersquos still theretodayrdquo After training with a Manchester-based drama tutor she went on to pursuean acting career Drama remains a greatinterest but her focus is now on sharing

her passion for Shakespeare throughher writing In her spare time Jen is

generally down in Stratford-upon-Avonsitting on her favourite bench behind

Holy Trinity ChurchFind her on Twitter The_JenJen

Andrew Bretz is a sessional instructorof English Literature and Drama

specialising in early modern dramaHe has taught at Wilfrid LaurierUniversity the University of Guelph

Brock University and McMasterUniversity For the past two years he

has taught a special summer intensiveat Ontariorsquos Stratford Festival His PhDdissertation was on the representationof sexual violence on the early modern

stage Find him on TwitterAndrewBretz001

Just some of the contributors to this issue of Shakespeare Magazine

Rosalind Lyons is a painter whohas exhibited widely in both mixedand solo shows with work in UK

and international private collections A life-long love of Shakespeare isreflected in many of her paintings

and a particular recent focus isShakespearersquos Globe theatre where shespent a period as artist-in-residenceShe is currently studying for a PhD

in Painting and ShakespeareanTheatre at Anglia Ruskin University

in CambridgeFind her on Twitter roslyons

52 SHAKESPEARE magazine

Contributors

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Page 32: Shakespeare Magazine 08

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rehearsals observing actors shift between selfand impersonation between diff erent realitiesand identities When they are not acting theyndash metaphorically and often literally ndash melt

into the shadows I am interested too in thephysical and symbolic threshold between lsquoonrsquoand lsquooff rsquo-stage the transformation inherentin an actor moving from the wings onto thestage assuming another self and anotheridentity Particularly evocative is the fact thatactors were colloquially known as shadowsin the Elizabethan playhouses ndash suggestingsomething unknowable and insubstantialIn the Prologue to Henry V Shakespeare hasthe Chorus describe the players as lsquociphersrsquoimplying deception and secrecy

Artists in the past who have tackledShakespeare have generally produced imagesthat directly illustrate the text or representfamous actors or scenes from a particularperformance Today as well as on the stageShakespearersquos plays are frequently re-imaginedin very successful film and TV adaptationsbut I have struggled to find more than ahandful of contemporary fine artists whohave engaged with Shakespeare on any levelPerhaps Shakespeare as a subject is seen

by some as too traditional too lsquopopularrsquoor simply just too lsquooldrsquo But in the theatreand in literature there is an ever-increasingenthusiasm for innovative interpretationsof the plays and for me Shakespeare is aconstant inspiration

e Prologue of Henry V also urges theaudience to ldquoPiece out our imperfections withyour thoughtsrdquo to liberate the imaginationand create another kind of reality to shapeour own fantasies within the ldquowooden Ordquo of

the theatre In my paintings I endeavour todo the same

Explore the work of Rosalind Lyons atwwwrosalindlyonscom

Above These Two CreaturesBelow Therersquos Magic In Thy Majesty

Roaslind Lyons

32 SHAKESPEARE magazine

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$amp( ) +-01

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Aidan OrsquoReilly

34 SHAKESPEARE magazine

Looking forRichard AidanOrsquoReilly is playingShakespearersquosbaddest monarch

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Aidan OrsquoReilly

SHAKESPEARE magazine 35

You are legally blind having been

diagnosed with retinoblastoma as an

infant How did this impact on your

acting aspirations and early career

ldquoMy parents did a good job raising me Inever grew up thinking of it as a handicap orthinking it could hold me back from what I wanted to do I couldnrsquot play sports at all soI think my parents were grateful that I hadsomething that I was passionate about from avery young age

ldquoI went to a public elementary school with a program designed for the blind so itfelt very natural for me to be the way that I was And acting has always been part of thatrdquo

You went to RADA in London Was

there a reason why you wanted to

train in England and not in the US

ldquoItrsquos always been an ambition of mine to

travel as far and wide as possible Also myhero growing up was Peter OrsquoToole ndash Iread his autobiography in high school andlearned he had gone to RADA and decided I wanted to go there too So I auditioned therenot knowing that RADA is arguably thebest drama school in the English-speaking world Consequently I was quite relaxed atthe audition which is probably why I gotin My ignorance can sometimes serve me well Going to RADA was a life-changing

Aidan OrsquoReilly is an actor with an

inspiring story Legally blind since he

was six months old he forged a passionfor drama at an early age Aidan went

on to gain a BA with honours from

Londonrsquos Royal Academy of Dramatic

Art before touring for three years with

the American Shakespeare Center

In 2012 Aidan was diagnosed with

sarcoma a rare cancer He bounced

back in 2014 after intensive treatment

and is now cancer-free We spoke to

Aidan as he prepared to play the title

role in Richard III for Californiarsquos Marin

Shakespeare Company We asked himto share his story and to give us his

take on one of Shakespearersquos most

fascinating characters

Interview by Jen Richardson

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Aidan OrsquoReilly

36 SHAKESPEARE magazine

experience I was lucky enough to havecontact with brilliant professors and Irsquom stillin awe of the students I went to school withI wouldnrsquot trade that experience for anythingrdquo After graduating from RADA you

went on the road with the American

Shakespeare Center Tell us a bit

about that

ldquoThat was one of the happiest times of mylife In many ways I got spoiled I was a working actor 11 months out of the yeartouring nationally seeing parts of the USI had never been to before doing plays Iloved and working with directors who werevehemently faithful and respectful to the text When I wasnrsquot on the road I was in residenceat the Blackfriars Playhouse in StauntonVirginia with many extraordinary actorsI was very lucky to be thererdquo

Three years ago you were diagnosed

with sarcoma How did you

overcome this enormous challenge

and return to the stage in 2014

ldquoThe only reason Irsquom still alive is because ofmy mother Lily and my wife Jocelynn AlsoI was fortunate that we caught it before it hadspread and it was on my leg and away fromany major organs

ldquoI am very grateful for my team of doctorsat UCSF who did an incredible job in mytreatment and follow-up care Irsquom glad to beback to workrdquo Yoursquore now due to play Richard III

with Marin Shakespeare Company

Howrsquos it going so far

ldquoAt this point Irsquom in the paperwork stage

of things A lot of reading the HenryVI s biographies of Richard as well asperformance history of the play itself Irsquomdoing a fair amount of limping around myapartment as well I canrsquot wait to get intorehearsals next weekrdquo Tell us about Marin Shakespeare

Company and what appealed to you

about working with them

ldquoRobert and Lesley [Currier MSCrsquos Artistic

Director and Managing Director] arefascinating people Their intelligence andhumour is contagious Without questionthere is a lot to be learned from themrdquo Richard IIIrsquos remains were discovered

in 2012 and reburied this year Is all

the new information about Richard

influencing your portrayal

ldquoYes and no My job isnrsquot to play the historicalRichard but the Richard that Shakespeare has

Aidan believesthat Richard IIIrsquosobsession withcontrol is whatcauses his downfall

ldquoPeter OrsquoToole wasmy hero He went to

RADA so I wanted to go there toordquo

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Crowning gloryAidan with MarinShakespearersquosRobert Currier

created Itrsquos helpful to know the facts of thesituation in order to gain insight into whathas been changed in Shakespearersquos versionof events

ldquoI met with a friend of mine who is a

retired surgeon who walked me through themedical information that has come to lighton Richardrsquos body and I will certainly usethat to inform my physical choicesrdquo Unlike many actors yoursquore the right

age to play the historical Richard III

Do you feel Richardrsquos relative youth

has been overlooked

ldquoI do Richard is a young man who believeshe is hardened by the experiences he andhis family endured during the War of theRoses and believes himself to be beyondhuman emotions and the lsquorestrictionsrsquo of aconscience He isnrsquot He pays the bill for thehorrible things he does That lack of self-knowledge is not exclusive to youth but I feelit makes him more sympathetic and relatableto an audiencerdquo Some people think Richard III shows

Shakespeare delivering a highly

effective piece of Tudor propaganda

Where do you stand on thatldquoI think Shakespeare has a soft spot foroutsiders and underdogs Although his playssometimes work within the confines of thebiases of Elizabethan society he canrsquot help butmake his lsquovillainsrsquo fascinating human beings

For as horrible as Richard is itrsquos amazing tosee how audiences relate and respond to himrdquo Which other important themes do

you feel Shakespeare deals with in

the playldquoThe history plays are full of extraordinarypeople who waste their lives and intelligence who sacrifice their humanity in pursuit of thecrown Itrsquos still happening today What is theattraction of power Richard never pauses tothink of why he wants the crown or if hersquodbe any good as king Turns out hersquos not butitrsquos this bizarre obsession with control thatpropels him to kill everyone off thatrsquos in his way Itrsquos also fascinating that the one characterthat is consistently kind to Richard is hisfather York

ldquoI think an argument can be made thatRichard in his warped way is trying to liveup to the image he has of his father Ofcourse York is dead and gone by the timeRichard III begins but you can glean a lotabout Richardrsquos inner workings in the way hespeaks about his father Of course itrsquos foolishto try to answer questions that Shakespearedoesnrsquot and Irsquom not trying to say this solvesa mystery but I think itrsquos interesting Itrsquos only

an element itrsquos not the answerrdquo Richard III is listed as a historical

play in the First Folio but in the

quarto edition it is termed a tragedy

Which category would you put the

play in and why

ldquoI think of the history plays from Richard II to Richard III as one vast play an epic thatencompasses all the categories I think if youlook at Richardrsquos progression through those

plays you see a great mind warped by the War of the Roses and that certainly adds tothe tragic element I think of Richard III asthe final chapter of a great epicrdquo

Aidan OrsquoReilly stars in Marin ShakespeareCompanyrsquos Richard III from 4-27 September

Aidan OrsquoReilly

SHAKESPEARE magazine 37

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Scotland Shakes

SHAKESPEARE magazine 39

Bonnie Prince

Brian Fergusonas Hamlet in theCitizens Theatre

production Photoby Tim Morozzo

Billy William Shakespeare is undoubtedly Englandrsquos

Bard But how is he viewed north of the border

Our Caledonian correspondent surveys the state

of Shakespeare in Scotland and meets esteemed

outdoor theatre company Bard in the Botanics

Words Paul F Cockburn

T owards the end of May thisyear a BBC Scotland afternoon

news bulletin surprisinglyturned its attention to aforthcoming production of

ldquoone of William Shakespearersquos best lovedplaysrdquo ndash A Midsummer Nightrsquos DreamHowever this particular production wasnrsquotconsidered newsworthy because it came froman amateur group based in Dumfries andGalloway Not even that the CrossmichaelDrama Club were one of just seven amateurScottish groups taking part in the Royal

Shakespeare Companyrsquos Open Stages project which aims to help amateur companies

extend their repertoiresNo the lsquohookrsquo was how this newproduction was Shakespeare ldquobut no asyou micht ken itrdquo Because it had beenreimagined in Scots as A MidsimmerNichtrsquos Dreme

As it happens writer John Burns saysthat his principle reason for translating AMidsimmer Nichtrsquos Dreme was simply theintuition that it being in Scots would workto the benefit of the production ldquoItrsquos not

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Scotland Shakes

40 SHAKESPEARE magazine

so much that 16th century English canrsquot docertain things more that using Scots brings itcloser to a Scottish audience and to audiences who might think Shakespeare too fancyrdquo hesays ldquoI feel too that Scots can catch the sheerphysical power of Shakespearersquos language He writes lines you really feel physically when

you say them out loud My intention was touse Scots to produce a text that was actableand which would be accessible and enjoyablefor the audience and the Scots was a majorpart of thatrdquo

Arguably translating Shakespeare intoScots ndash viewed by many as a distinct languagefrom English ndash is just one way of finding thecontinued relevancies of Shakespearersquos writing with the here and now Certainly John Burns was keen to see if Scots ldquocould match the way

Shakespeare switches tonehellip from broad attimes bawdy humour to moments that aremore serious or even sinisterrdquo

Yet there is a wider perspective whether wersquore discussing translation into Scots orsaying Shakespearersquos words with a Scottishaccent Willy Maley and Andrew Murphyin their introduction to Shakespeare andScotland (published by Manchester UniversityPress in 2004) go as far as describing thetranslation of Shakespearersquos Macbeth into

Scots as ldquoa patriotic actrdquo not least becauseof ldquothe political commitment implicit intranslating from English to Scots reversing

the dominant dubbing practice infi

lmsrdquoGlasgow-based novelist and playwright Alan Bissett ndash who actively campaigned fora Yes vote during last yearrsquos IndependenceReferendum ndash has since written about howsince the 1970s Scottish theatre had ldquoadeep engagement with the shifting beastof Scottish politicsrdquo Although Bissett wasfocusing primarily on original works byScottish playwrights and directors itrsquos worthpointing out that Shakespeare ndash despite therebeing absolutely no evidence to prove he evertravelled north of Carlisle ndash has played hisown part in this

As Maley and Murphy point outldquoScotlandhellip never had precisely the samerelationship with the Bard as England hasbut has experienced a fraught process ofappropriation incorporation and resistancerdquoIn part this is because Shakespeare ndash in hislatter career ndash was among the first lsquoBritishrsquo writers Many of his later plays ndash Cymbeline King Lear even Hamlet ndash were produced

A tartan-cladAntipholus andDromio in Bard inthe Botanicsrsquo TheComedy of Errors

Brian FergusonrsquosHamlet CitizensTheatre productionPhoto by TimMorozzo

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under the patronage of Scotlandrsquos King JamesVI (aka James I of England) Each in theirown way can be said to touch on ldquothe matterof Britainrdquo the complex relationship between

the constituent elements of Jamesrsquos newlsquounitedrsquo kingdom which the Stuart monarch was determined to see joined into oneat never quite happened of course

Even after the 1707 Act of UnionScotland retained its own legal educationaland religious systems along with anaccompanying sense of Scottish identity ndash which survived even the height of the Britishempire Yet from the 1970s on there havebeen notable changes in how Shakespeareis treated by Scotlandrsquos producing theatrecompanies Several years ago GlasgowrsquosCitizenseatre delivered a powerful Romeoand Juliet in part because of their decision toset the action in a present-day sectarian Westof Scotland ndash with accents to match

ldquoEnglish-accented Shakespeare carriesa specific resonance in Scotland one thatdirectors usually choose to avoidrdquo pointsout Mark Fisher a freelance journalist criticand author of the forthcoming book How toWrite Abouteatre

ldquoIrsquom not sure exactly when attitudesstarted to change but Irsquod say the argumentin favour of Scottish-accented productionshad been pretty much won by the 1990sBy that time companies such as Raindogand directors such as Hamish Glen hadbeen making a point of casting very Scottishproductions of Shakespearerdquo

One example of how things hadprogressed even by 1992 was the late KennyIrelandrsquos production of A Midsummer

Nightrsquos Dream his first as Artistic Directorat Edinburghrsquos Royal Lyceum ldquoHe castthe mechanicals with Scottish accents andeveryone else with English accentsrdquo MarkFisher explains ldquois I said in my review wasa fundamental error ndash or some such phrasee message it sent out was that people withScottish accents were foolish figures of fun whereas people with English accents wereserious figures of respect

ldquoIreland reacted furiously to my review

and made the case that he had based thecasting of the mechanicals around (the actor) Andy Gray who has a Scottish accent Inother words the meaning I inferred hadnot been deliberate I think itrsquos true to sayhowever that Ireland never cast a Shakespearelike that againrdquo

Gordon Barr is Artistic Director of

Glasgow-based Bard in the BotanicsScotlandrsquos only professional Shakespearecompany (see following pages)

ldquoWersquove never gone out of our way tomake Scottish versions of these texts norhave we gone out of our way to have classicaltraditional voicesrdquo he says ldquoMost of our coreactors have made their careers up here so wethink of them as Scottish actors

ldquoat is important to us to not overlylook outwards for the acting company As

much as possible we work with people who are based in Scotland Wersquore regularlyproducing Shakespeare here and we want tobe a part of the training to ensure that there isa range of strong classical actors hererdquo

Citizens Theatrewwwcitzcouk

Owen Whitehawas the Fool andDavid Hayman asLear in CitizensTheatrersquos King Lear Photo by TimMorozzo

Scotland Shakes

SHAKESPEARE magazine 41

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Bard in theBotanicsrsquo As You Like

It takes Rosalind andOrlando into theopen air

ldquoTouring is something that we have wanted to do foryears but was somethingthat we could not afford

to do without fundingrdquo says Gordon Barr Artistic Director of Scotlandrsquos only professionaloutdoor Shakespeare festival Bard in theBotanics If therersquos any irony attached tothe companyrsquos first major tour of Scotland which took place in early 2015 itrsquos that theperformances of their acclaimed Romeo and Juliet ndash featuring a cast of five ndash were playedexclusively indoors

ldquoNobody is touring classical theatre in

Scotland at the minute so itrsquos importantto usrdquo Barr adds ldquoOur work is so muchabout accessibility One of the joys of beingoutdoors is that people come to see the work who wouldnrsquot buy a ticket for a theatre Ifyou can bring a picnic sit out on the grass while watching the show it feels easier moreaccessible But people canrsquot come from Thursoto Glasgow for a night just to see a productionof Shakespeare They should be able to see itin Thurso So that is kind of where the urge totour came fromrdquo

Bard in the Botanics has presented outdoorShakespeare within the grounds of GlasgowrsquosBotanic Gardens since 2003 This yearrsquoslsquoUnlikely Wondersrsquo season presented newproductions of Loversquos Labourrsquos Lost The Merchant of Venice Richard II and A Midsummer Nightrsquos Dream in lsquoreprsquo between24 June and 1 August

The companyrsquos founder Scott PalmerBarr explains had done a lot of his training atthe Oregon Shakespeare Festival one of the

biggest in North America ldquoWith the kindof drive and enthusiasm that only Americanshave he managed to convince the entire cityof Glasgow that outdoor Shakespeare would work and that the weather wasnrsquot going to be

a problemrdquoTwo years later Palmer moved on and Barr

ndash originally involved as a director ndash succeededhim as Artistic Director ldquoIf anyone then hadsaid that I would end up spending 12 yearsrunning an outdoor Shakespeare festival I wouldnrsquot have believed themrdquo he says in hisoffice hidden behind some of the Botanicsrsquogardening sheds ldquoI very quickly fell in love with it once I started working here Despiteall the trials and tribulations that outdoortheatre in Scotland brings with it therersquos just

something magical and special about it Itrsquos a very close-knit company and thatrsquos sort of keptus all here as long as we have beenrdquo

While the annual summer season ofShakespeare plays in the Botanics will remainat the centre of what the company does ndashldquoOtherwise Bard in the Botanics becomesa rather strange namerdquo ndash Barr is very much

Outof theGarden

This year has seen Glasgowrsquos Bard in the Botanicsdo something completely unexpected They wentout on a tour of ndash whisper it ndash indoor venueshellip

Scotland Shakes

42 SHAKESPEARE magazine

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Scotland Shakes

SHAKESPEARE magazine 43

focused on building on the touring side ldquoBecause it was our first ever tour we

did end up taking Romeo and Juliet to theestablished Scottish touring circuitrdquo he addsldquoIt takes a while to build up relationships with the smaller venues thatrsquos going to bean ongoing process for us Even so we weretaking Romeo and Juliet to places like Mulland Stranraer ndash communities and venues thathavenrsquot had a lot of classical theatre comingthrough themrdquo

The choice of play was deliberate too ldquoIt was a production that was ready to go whichhad received five star reviews and sold out itsextended run in the Botanics in 2012 So weknew that the work was good but therersquos nodoubt that for a first tour we wanted to makeit easier for the venues to sell it Most venuesknow they can find an audience for Romeo and Juliet rdquo

In time he hopes that audiences aroundthe rest of Scotland will come to trust the Bardin the Botanics name sufficiently to take on theless familiar plays

ldquoYou just donrsquot know how quickly acommunity is going to turn out for Henry IV yetrdquo he says ldquoHopefully three or four toursdown the line theyrsquore going to turn out forBard in the Botanics ndash and if it happens to be

Henry IV well thatrsquos greatrdquoGiven their reimagining of A MidsummerNightrsquos Dream as a 1920s burlesque musicalis there a particular Bard in the Botanicsapproach to Shakespeare

ldquoOur kind of unofficial motto is lsquoBe BoldBe Braversquordquo Barr says ldquoIf wersquore continuingto stage these plays around 400 years afterShakespearersquos death I think therersquos an urgencyto ask lsquoWhyrsquo It is important to questionlsquoWhat is the story that we want to tellrsquo I wantto see how these plays intersect with historyand todayrsquos society not to present museumpieces

ldquoItrsquos always with an eye to try to releasesomething thatrsquos within the textrdquo Barrinsists ldquoWersquore not remotely interested ininnovation for innovationrsquos sake The playsare masterpieces thatrsquos essentially why wersquorestill doing them 400 years later But to revealsomething thatrsquos unexpected or new thatrsquosimportant to usrdquo

Bard in the Botanics

wwwbardinthebotanicscouk

Rosalind and Audreyin the forest Bardin the Botanicsrsquo As You Like It

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Shakespeare at the Tobacco Factory stf 2016 Seasonco-production with Tobacco Factory Theatres

HAMLETBy William Shakespeare

Directed by Andrew Hilton

Main run Thu 11 February ndash Sat 26 March 2016

In repertoire with Allrsquos Well That Ends WellMon 25 ndash Wed 27 April Sat 30 April 2016

The most famous play in world drama Hamlet

turns a new face to every decade So many

elements - political madness sex murder ndash all

brought together in a drama that is both a thriller

and the profoundest meditation on our human

condition

ldquoThrilling workrdquo The Guardian on Romeo amp Juliet

ldquoBullseyerdquo WhatsOnStage on Romeo amp Juliet

Shakespeare at the Tobacco Factory Friends Priority Booking opens Wed 23 September 10am

wwwstf-theatreorguk

Tobacco Factory Theatres Members Priority Booking opens Wed 16 September 10am

wwwtobaccofactorytheatrescom

Public Booking opens Wed 30 September 10am

Tobacco Factory Box Office 0117 902 0344

ALLrsquoS WELL THAT ENDS WELLBy William Shakespeare

Directed by Andrew Hilton

Main run Thu 31 March ndash Sat 23 April 2016

In repertoire with Hamlet

Thu 28 ndash Fri 29 April Sat 30 April

A young woman using skills bequeathed herby her father saves the French Kingrsquos life and

is rewarded with the right to choose her own

husband But what if the chosen one wonrsquot play

the game How can she get him into bed How

can she make him love her

ldquo There is something approaching real

magic hererdquo The Arts Desk on The School for Scandal

P h o t o s M

a r k D o u e t

Dorothea MyerBennett in Richard III

Benjamin Whitrowand Julia Hills in The

School For Scandal

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Having conquered

Hollywood and vanquished

the global entertainment

industry video games now

on our culture So where

does the Bard stand in all of

this We sent a Shakespeare

scholar to investigatehellip

Words Andrew Bretz

Shakespeare video games

46 SHAKESPEARE magazine

T eGamersquos A oot Silent Hill is one

big-name gamewhich includesShakespearereferences

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Shakespeare video games

SHAKESPEARE magazine 47

German cardboard Macbeth datingfrom the early1800s

Hamlet reimaginedRyan Northrsquos To Be

Or Not To Be

W

hen you walk intothe wood panelled Victorian Gothicismof the Gail Kern Paster

Reading Room at theFolger Shakespeare Library in WashingtonDC video games are probably the lastthing on your mind Buried deep withinthe archives however are a set of fragilecardboard figures printed in Germany in theearly 1800s representing each of the maincharacters of Macbeth

Nineteenth century German children would play with these figures on smallcardboard stages no bigger than a dollhouseey could replicate the story as it was toldin Shakespeare or use their imagination tochange the ending letting Lady Macbethsurvive and bringing Duncan back from thedead if they so chosee limits of the game were the limits of their imagination

Today the lsquogamificationrsquo of Shakespeareis a big business from Ryan Northrsquos choose-your-own-adventure edition of Hamlet To Be Or Not To Be to IDW Gamesrsquosupcoming Kill Shakespeare board gamebased on the comic of the same name

Gamifying Shakespeare is filtering intoschools libraries and the theatrical worldas well with the University of California atDavis the Stratford Festival in Ontario theGlobeeatre in London and the LondonMetropolitan Archives all experimenting with video game elements in exhibits productionsand research

Why video games In a sense this is thelogical next step in the media development ofShakespeare Hersquos everywhere in other media

books movies merchandise But videogamese answer for that depends on whoyou ask

StorytellingOccasionally individuals or publishinghouses develop video games that try to tellthe story of say Hamlet yet this is relativelyrare One example would be Elsinore a time-looping narrative adventure game set in the world of the play Players play the game as

Ophelia who wakes up knowing that in fourdays the entire court will be dead and shemust do something to stop ite problemis that she is stuck in a time loop reliving thesame four days over and over againat said Shakespearersquos presence in the

video game industry tends to be focused oncitation rather than adaptation of the playsat is video games for Xbox Playstationand other popular gaming systems often

just cite Shakespearersquos plays as a part of acommon cultural heritageese games donrsquotrestage say Hamlet but they quote the playIn these cases Shakespeare is used to establisha point of identification for the audience His writing tells the audience something aboutthe character or the situation

Given that audiences are supposedto be able to identify the quotations asShakespearean it is unsurprising that Hamlet is the most popular text for game designers to

cite Ine Elder Scrolls Online for instancea merchant NPC (non-player character)quotes Polonius when players interact sayingldquoNeither a borrower nor a lender berdquoe words establish the NPCrsquos role as a merchant while fitting the medieval world of thegame In the game LA Noire upon pickingup a fake shrunken head at a crime scene adetective leaps into high melodrama withldquoAlas poor Yorick I knew him Horatiordquoequotation and the clever voice acting establish

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Shakespeare video games

48 SHAKESPEARE magazine

the characterrsquos strait-laced yet macabre senseof humour

Sometimes citing Shakespeare is a partof a critique of a larger theme In the game Mass E ff ect the Elcor are a race of elephantinealiens who preface all statements with adescription of the emotion they are feelingand who speak in a slow monotonous drone As players interact with the expansive worldthey can discover a number of advertisementsfor an all-Elcor Hamlet e idea of theElcor actor ndash the ultimate in a flat woodenperformer ndash having to preface ldquoTo be or not

to berdquo with ldquomorose ruminationrdquo goes beyondthe simple humour of a bad Shakespeareperformance It subtly asks what it is aboutacting (and especially voice acting) that isvaluable

Shakespeare can appear in video gamesnot merely as a marker or contextualisationtool but as a part of a puzzle For example inthe game Silent Hill 3 players must arrange aset of Shakespeare anthologies on a bookshelfin an abandoned shopping mall in order to

proceed in the game At the hardest levelthe puzzle clue takes the form of a poemthat references all the major tragedies Romeoand Juliet King Lear Macbeth Othello andof course Hamlet e bloody nature of thetragedies fits with the bloody nature of theSilent Hill series of games which fall into thesurvival horror genre

Popular video games have also servedas the inspiration for games that engage with Shakespeare in a more direct way For

example Daniel Fischlin at the Universityof Guelph in Ontario Canada led a teamthat created a Flash game called rsquoSpeare Itrsquos

a scrolling arcade-style game suggesting thersquo80s hit Galaga which sees players identifyingand navigating through a series of enemies who turn into words upon being destroyede player progresses through the levelsby collecting the correct words to createShakespearean quotes learning Shakespeareantrivia along the way

ImmersionOne of the most exciting aspects of videogames is the ability to immerse the player inthe world of the game in a way that othermedia simply cannot do Being able to walkaround Prosperorsquos cell Julietrsquos balcony orto stand before the ghost of Hamletrsquos fatheras he cries out ldquoList list O listrdquo ndash theseexperiences are made possible through videogame technology

Students of Scenic Arts at the Universityof Hildesheim in Germany created Projekt ARIEL or SturmMOD in 2008 using a lsquomodrsquo(or modification) to the engine that runs

the game Far Cry 1 e performance artproject allowed users to experience Prosperorsquosisland interacting with certain parts andexploring others Players could walk aroundan imaginative rendition of Prosperorsquos cell and witness or interact with elements of the playincluding diff erent characters like CalibanProspero and Miranda

Four days to savethe Danish court

Elsinore

Another Hamlet reference this timein LA Noire

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Shakespeare video games

SHAKESPEARE magazine 49

Gina Bloom at the University of Californiaat Davis is presently spearheading a projectthat will be demonstrated in the lobby of theStratford Festival theatre in Ontario Canadathis summere project Play the Knave AShakespeare Performance Videogame lets usersdesign a virtual performance space and thenperform a scene from a Shakespeare playinhabiting this constructed space with anavatar As a Davis insider explains ldquoWe use akinect motion capture camera to capture theuserrsquos skeletal data so that players use theirentire bodies to control their avatarrsquos gesturesonscreen all the while reciting the lines from

Shakespearersquos scenerdquo is literally immersesthe players in the scene

Shakespearersquos Globe eatre in Londontook another tactic regarding immersionin the production of the game HemmingsrsquoPlay Company Hosted on the Playgroundportion of the Globersquos website and thusaimed at an audience of children the gamehas players taking on the role of Hemmingsan Elizabethan bear who leads a troupe oftheatrical animals such as Kit the Cat Dekker

the Dog and Slye the Foxe turn-based game leads players through

the vagaries of Elizabethan theatre practicefrom patronage to lost props and the plagueBy the end of the game players must earnenough money to rebuild the Globe after itburns down during a performance of HenryVIII

Also from Shakespearersquos Globe are twoinnovative video experiences created forchildren aged five to 11 e first Exploring

Shakespeare features two boys on a tour ofthe Globe theatre who sneak off to explorebackstage e video illustrates four plays

using short animations that are keyedto things the boys find backstage etechnology combines live action film andanimation to create an interactive touchablegame Filled with mini-games quizzes andinteresting facts about Shakespeare the gameallows players to click through the narrativeor to stop and learn more as they go along

e second video called Staging It usesthe same technology as the first film but thistime is for the 11-16 age group In this gamee Globe has filmed two actors performingfamous duologues from A MidsummerNightrsquos Dream and Macbeth on the Globestage Rather than shoot it once the actorshave performed their lines in diff erent ways(happy flirtatious defensive and so on)creating several diff erent clips per linePlayers can watch each of the clips and addtheir choice to a dynamic storyboard tobuild up their final scene Impressively theplatform allows for up to 1000000 diff erentcombinations of clips

Apps and Mini-GamesItrsquos when you start to look outside of therealm of popular video game platformslike Xbox or Playstation that Shakespeare

Silent Hill 3 Brush upyour Shakespeare ifyou want to survive

Hemmingsrsquo PlayCompany fromShakespearersquosGlobe

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Shakespeare video games

50 SHAKESPEARE magazine

really starts to pop up wherever you looke ubiquity of Shakespeare is especiallynoticeable when you start to look at apps andmini-games designed for phones and tablets

In 2012 Big Fish Games released aniPhone and iPad game called Hamlet that featured all the main characters ofShakespearersquos play but transposed them intoa save-the-princess narrative puzzle game A time traveller lands in Denmark andaccidentally kills Hamlet and so players mustcomplete his journey for him saving Opheliaand killing Claudiuse Shakespeareancontent is minimal and heavily adapted andyet it fits with the puzzle format in whichShakespeare tends to be found in videogamese Chronicles of Shakespeare Romeo amp

Juliet ande Chronicles of Shakespeare A Midsummer Nightrsquos Dream are lusciously-illustrated puzzle games for the PC In themplayers act as one of the characters from theplays gathering items and clues through aShakespearean environment

Among the literally thousands of appsrelated to Shakespeare that can be found forthe iPad or Android tablet are

e Shakespearean Insult Creator which generates invectives drawn from a wholly Shakespearean vocabulary So nexttime you want to call someone a jerk trysomething more like ldquoou fusty follyfallenfustilarianrdquo

e Shakespeare Translator whichtranslates ldquonormal English words and phrasesinto the words of Shakespeare himselfrdquo

e Shakespeare Fortune Cookie which provides short quotes from the plays

and a small trivia game Shakespeare or Die a game that

scrambles the words of famous quotationsfrom the plays and asks you to identify theplay and character who spoke the line If youmake a mistake however beware the witchesese apps are either explicitly games or

they are coming out of a game-like impulse tomake Shakespeare more accessible to everyone with an internet connection

Brave New WorldsIn a world where Shakespeare is an industrycounted in the millions of dollars per yearit is so easy to forget that Shakespearersquos playsare just that ndash playsere is a sense of joyand fun and happiness embedded in theexperience of watching them Games are oneof the ways that people over the centuries

have tried to recapture that elusive sense ofplayfulness within Shakespeare So it makesperfect sense that now with the advent ofdigital technologies Shakespeare is movinginto the digital world with a vengeance

From big studio games likee ElderScrolls to small apps that can be downloadedfor free from talking bears to immersiveperformance experiences Shakespeare iseverywhere in video games Rather than beingan undiscovered country into which the Bard

is only just beginning to emerge games havein fact engaged with Shakespeare and his works for hundreds of years And they willprobably continue to do so for hundreds ofyears to come

rsquoSpeare is a scrollingarcade-stylegame with addedShakespeare trivia

Hamlet is aShakespeare-themed puzzle fromBig Fish Games

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Meet thy makers

Helen Mears fell into bardolatryduring her teenage years and has

never recovered She is a volunteersteward at Shakespearersquos Globe

which ensures a regular diet of theBard She teaches English Film andMedia at Suffolk New College and isa specialist in teaching Shakespeareusing active methods Her favouriteShakespearean actor is Jamie Parker

and her favourite plays are the SecondHistory Tetralogy She hopes to

finish her Masters in the AdvancedTeaching of Shakespeare very soonFind her on Twitter hipster_hels

Paul F Cockburn is an Edinburgh-based freelance magazine journalist who specialises in writing about

arts and culture equality issues andpopular science Hersquos sufficiently

grey-haired for his English Literaturetraining to have sort of overlapped

with The BBC Television Shakespeareproject saving at least some of the

plays from death by academiaFind him on Twitter paulfcockburn

Jen Richardson first fell in love withShakespeare as a 15-year-old schoolgirl

ldquoHe got under my skin and hersquos still theretodayrdquo After training with a Manchester-based drama tutor she went on to pursuean acting career Drama remains a greatinterest but her focus is now on sharing

her passion for Shakespeare throughher writing In her spare time Jen is

generally down in Stratford-upon-Avonsitting on her favourite bench behind

Holy Trinity ChurchFind her on Twitter The_JenJen

Andrew Bretz is a sessional instructorof English Literature and Drama

specialising in early modern dramaHe has taught at Wilfrid LaurierUniversity the University of Guelph

Brock University and McMasterUniversity For the past two years he

has taught a special summer intensiveat Ontariorsquos Stratford Festival His PhDdissertation was on the representationof sexual violence on the early modern

stage Find him on TwitterAndrewBretz001

Just some of the contributors to this issue of Shakespeare Magazine

Rosalind Lyons is a painter whohas exhibited widely in both mixedand solo shows with work in UK

and international private collections A life-long love of Shakespeare isreflected in many of her paintings

and a particular recent focus isShakespearersquos Globe theatre where shespent a period as artist-in-residenceShe is currently studying for a PhD

in Painting and ShakespeareanTheatre at Anglia Ruskin University

in CambridgeFind her on Twitter roslyons

52 SHAKESPEARE magazine

Contributors

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Page 33: Shakespeare Magazine 08

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$amp( ) +-01

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Aidan OrsquoReilly

34 SHAKESPEARE magazine

Looking forRichard AidanOrsquoReilly is playingShakespearersquosbaddest monarch

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Aidan OrsquoReilly

SHAKESPEARE magazine 35

You are legally blind having been

diagnosed with retinoblastoma as an

infant How did this impact on your

acting aspirations and early career

ldquoMy parents did a good job raising me Inever grew up thinking of it as a handicap orthinking it could hold me back from what I wanted to do I couldnrsquot play sports at all soI think my parents were grateful that I hadsomething that I was passionate about from avery young age

ldquoI went to a public elementary school with a program designed for the blind so itfelt very natural for me to be the way that I was And acting has always been part of thatrdquo

You went to RADA in London Was

there a reason why you wanted to

train in England and not in the US

ldquoItrsquos always been an ambition of mine to

travel as far and wide as possible Also myhero growing up was Peter OrsquoToole ndash Iread his autobiography in high school andlearned he had gone to RADA and decided I wanted to go there too So I auditioned therenot knowing that RADA is arguably thebest drama school in the English-speaking world Consequently I was quite relaxed atthe audition which is probably why I gotin My ignorance can sometimes serve me well Going to RADA was a life-changing

Aidan OrsquoReilly is an actor with an

inspiring story Legally blind since he

was six months old he forged a passionfor drama at an early age Aidan went

on to gain a BA with honours from

Londonrsquos Royal Academy of Dramatic

Art before touring for three years with

the American Shakespeare Center

In 2012 Aidan was diagnosed with

sarcoma a rare cancer He bounced

back in 2014 after intensive treatment

and is now cancer-free We spoke to

Aidan as he prepared to play the title

role in Richard III for Californiarsquos Marin

Shakespeare Company We asked himto share his story and to give us his

take on one of Shakespearersquos most

fascinating characters

Interview by Jen Richardson

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Aidan OrsquoReilly

36 SHAKESPEARE magazine

experience I was lucky enough to havecontact with brilliant professors and Irsquom stillin awe of the students I went to school withI wouldnrsquot trade that experience for anythingrdquo After graduating from RADA you

went on the road with the American

Shakespeare Center Tell us a bit

about that

ldquoThat was one of the happiest times of mylife In many ways I got spoiled I was a working actor 11 months out of the yeartouring nationally seeing parts of the USI had never been to before doing plays Iloved and working with directors who werevehemently faithful and respectful to the text When I wasnrsquot on the road I was in residenceat the Blackfriars Playhouse in StauntonVirginia with many extraordinary actorsI was very lucky to be thererdquo

Three years ago you were diagnosed

with sarcoma How did you

overcome this enormous challenge

and return to the stage in 2014

ldquoThe only reason Irsquom still alive is because ofmy mother Lily and my wife Jocelynn AlsoI was fortunate that we caught it before it hadspread and it was on my leg and away fromany major organs

ldquoI am very grateful for my team of doctorsat UCSF who did an incredible job in mytreatment and follow-up care Irsquom glad to beback to workrdquo Yoursquore now due to play Richard III

with Marin Shakespeare Company

Howrsquos it going so far

ldquoAt this point Irsquom in the paperwork stage

of things A lot of reading the HenryVI s biographies of Richard as well asperformance history of the play itself Irsquomdoing a fair amount of limping around myapartment as well I canrsquot wait to get intorehearsals next weekrdquo Tell us about Marin Shakespeare

Company and what appealed to you

about working with them

ldquoRobert and Lesley [Currier MSCrsquos Artistic

Director and Managing Director] arefascinating people Their intelligence andhumour is contagious Without questionthere is a lot to be learned from themrdquo Richard IIIrsquos remains were discovered

in 2012 and reburied this year Is all

the new information about Richard

influencing your portrayal

ldquoYes and no My job isnrsquot to play the historicalRichard but the Richard that Shakespeare has

Aidan believesthat Richard IIIrsquosobsession withcontrol is whatcauses his downfall

ldquoPeter OrsquoToole wasmy hero He went to

RADA so I wanted to go there toordquo

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Crowning gloryAidan with MarinShakespearersquosRobert Currier

created Itrsquos helpful to know the facts of thesituation in order to gain insight into whathas been changed in Shakespearersquos versionof events

ldquoI met with a friend of mine who is a

retired surgeon who walked me through themedical information that has come to lighton Richardrsquos body and I will certainly usethat to inform my physical choicesrdquo Unlike many actors yoursquore the right

age to play the historical Richard III

Do you feel Richardrsquos relative youth

has been overlooked

ldquoI do Richard is a young man who believeshe is hardened by the experiences he andhis family endured during the War of theRoses and believes himself to be beyondhuman emotions and the lsquorestrictionsrsquo of aconscience He isnrsquot He pays the bill for thehorrible things he does That lack of self-knowledge is not exclusive to youth but I feelit makes him more sympathetic and relatableto an audiencerdquo Some people think Richard III shows

Shakespeare delivering a highly

effective piece of Tudor propaganda

Where do you stand on thatldquoI think Shakespeare has a soft spot foroutsiders and underdogs Although his playssometimes work within the confines of thebiases of Elizabethan society he canrsquot help butmake his lsquovillainsrsquo fascinating human beings

For as horrible as Richard is itrsquos amazing tosee how audiences relate and respond to himrdquo Which other important themes do

you feel Shakespeare deals with in

the playldquoThe history plays are full of extraordinarypeople who waste their lives and intelligence who sacrifice their humanity in pursuit of thecrown Itrsquos still happening today What is theattraction of power Richard never pauses tothink of why he wants the crown or if hersquodbe any good as king Turns out hersquos not butitrsquos this bizarre obsession with control thatpropels him to kill everyone off thatrsquos in his way Itrsquos also fascinating that the one characterthat is consistently kind to Richard is hisfather York

ldquoI think an argument can be made thatRichard in his warped way is trying to liveup to the image he has of his father Ofcourse York is dead and gone by the timeRichard III begins but you can glean a lotabout Richardrsquos inner workings in the way hespeaks about his father Of course itrsquos foolishto try to answer questions that Shakespearedoesnrsquot and Irsquom not trying to say this solvesa mystery but I think itrsquos interesting Itrsquos only

an element itrsquos not the answerrdquo Richard III is listed as a historical

play in the First Folio but in the

quarto edition it is termed a tragedy

Which category would you put the

play in and why

ldquoI think of the history plays from Richard II to Richard III as one vast play an epic thatencompasses all the categories I think if youlook at Richardrsquos progression through those

plays you see a great mind warped by the War of the Roses and that certainly adds tothe tragic element I think of Richard III asthe final chapter of a great epicrdquo

Aidan OrsquoReilly stars in Marin ShakespeareCompanyrsquos Richard III from 4-27 September

Aidan OrsquoReilly

SHAKESPEARE magazine 37

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Scotland Shakes

SHAKESPEARE magazine 39

Bonnie Prince

Brian Fergusonas Hamlet in theCitizens Theatre

production Photoby Tim Morozzo

Billy William Shakespeare is undoubtedly Englandrsquos

Bard But how is he viewed north of the border

Our Caledonian correspondent surveys the state

of Shakespeare in Scotland and meets esteemed

outdoor theatre company Bard in the Botanics

Words Paul F Cockburn

T owards the end of May thisyear a BBC Scotland afternoon

news bulletin surprisinglyturned its attention to aforthcoming production of

ldquoone of William Shakespearersquos best lovedplaysrdquo ndash A Midsummer Nightrsquos DreamHowever this particular production wasnrsquotconsidered newsworthy because it came froman amateur group based in Dumfries andGalloway Not even that the CrossmichaelDrama Club were one of just seven amateurScottish groups taking part in the Royal

Shakespeare Companyrsquos Open Stages project which aims to help amateur companies

extend their repertoiresNo the lsquohookrsquo was how this newproduction was Shakespeare ldquobut no asyou micht ken itrdquo Because it had beenreimagined in Scots as A MidsimmerNichtrsquos Dreme

As it happens writer John Burns saysthat his principle reason for translating AMidsimmer Nichtrsquos Dreme was simply theintuition that it being in Scots would workto the benefit of the production ldquoItrsquos not

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Scotland Shakes

40 SHAKESPEARE magazine

so much that 16th century English canrsquot docertain things more that using Scots brings itcloser to a Scottish audience and to audiences who might think Shakespeare too fancyrdquo hesays ldquoI feel too that Scots can catch the sheerphysical power of Shakespearersquos language He writes lines you really feel physically when

you say them out loud My intention was touse Scots to produce a text that was actableand which would be accessible and enjoyablefor the audience and the Scots was a majorpart of thatrdquo

Arguably translating Shakespeare intoScots ndash viewed by many as a distinct languagefrom English ndash is just one way of finding thecontinued relevancies of Shakespearersquos writing with the here and now Certainly John Burns was keen to see if Scots ldquocould match the way

Shakespeare switches tonehellip from broad attimes bawdy humour to moments that aremore serious or even sinisterrdquo

Yet there is a wider perspective whether wersquore discussing translation into Scots orsaying Shakespearersquos words with a Scottishaccent Willy Maley and Andrew Murphyin their introduction to Shakespeare andScotland (published by Manchester UniversityPress in 2004) go as far as describing thetranslation of Shakespearersquos Macbeth into

Scots as ldquoa patriotic actrdquo not least becauseof ldquothe political commitment implicit intranslating from English to Scots reversing

the dominant dubbing practice infi

lmsrdquoGlasgow-based novelist and playwright Alan Bissett ndash who actively campaigned fora Yes vote during last yearrsquos IndependenceReferendum ndash has since written about howsince the 1970s Scottish theatre had ldquoadeep engagement with the shifting beastof Scottish politicsrdquo Although Bissett wasfocusing primarily on original works byScottish playwrights and directors itrsquos worthpointing out that Shakespeare ndash despite therebeing absolutely no evidence to prove he evertravelled north of Carlisle ndash has played hisown part in this

As Maley and Murphy point outldquoScotlandhellip never had precisely the samerelationship with the Bard as England hasbut has experienced a fraught process ofappropriation incorporation and resistancerdquoIn part this is because Shakespeare ndash in hislatter career ndash was among the first lsquoBritishrsquo writers Many of his later plays ndash Cymbeline King Lear even Hamlet ndash were produced

A tartan-cladAntipholus andDromio in Bard inthe Botanicsrsquo TheComedy of Errors

Brian FergusonrsquosHamlet CitizensTheatre productionPhoto by TimMorozzo

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under the patronage of Scotlandrsquos King JamesVI (aka James I of England) Each in theirown way can be said to touch on ldquothe matterof Britainrdquo the complex relationship between

the constituent elements of Jamesrsquos newlsquounitedrsquo kingdom which the Stuart monarch was determined to see joined into oneat never quite happened of course

Even after the 1707 Act of UnionScotland retained its own legal educationaland religious systems along with anaccompanying sense of Scottish identity ndash which survived even the height of the Britishempire Yet from the 1970s on there havebeen notable changes in how Shakespeareis treated by Scotlandrsquos producing theatrecompanies Several years ago GlasgowrsquosCitizenseatre delivered a powerful Romeoand Juliet in part because of their decision toset the action in a present-day sectarian Westof Scotland ndash with accents to match

ldquoEnglish-accented Shakespeare carriesa specific resonance in Scotland one thatdirectors usually choose to avoidrdquo pointsout Mark Fisher a freelance journalist criticand author of the forthcoming book How toWrite Abouteatre

ldquoIrsquom not sure exactly when attitudesstarted to change but Irsquod say the argumentin favour of Scottish-accented productionshad been pretty much won by the 1990sBy that time companies such as Raindogand directors such as Hamish Glen hadbeen making a point of casting very Scottishproductions of Shakespearerdquo

One example of how things hadprogressed even by 1992 was the late KennyIrelandrsquos production of A Midsummer

Nightrsquos Dream his first as Artistic Directorat Edinburghrsquos Royal Lyceum ldquoHe castthe mechanicals with Scottish accents andeveryone else with English accentsrdquo MarkFisher explains ldquois I said in my review wasa fundamental error ndash or some such phrasee message it sent out was that people withScottish accents were foolish figures of fun whereas people with English accents wereserious figures of respect

ldquoIreland reacted furiously to my review

and made the case that he had based thecasting of the mechanicals around (the actor) Andy Gray who has a Scottish accent Inother words the meaning I inferred hadnot been deliberate I think itrsquos true to sayhowever that Ireland never cast a Shakespearelike that againrdquo

Gordon Barr is Artistic Director of

Glasgow-based Bard in the BotanicsScotlandrsquos only professional Shakespearecompany (see following pages)

ldquoWersquove never gone out of our way tomake Scottish versions of these texts norhave we gone out of our way to have classicaltraditional voicesrdquo he says ldquoMost of our coreactors have made their careers up here so wethink of them as Scottish actors

ldquoat is important to us to not overlylook outwards for the acting company As

much as possible we work with people who are based in Scotland Wersquore regularlyproducing Shakespeare here and we want tobe a part of the training to ensure that there isa range of strong classical actors hererdquo

Citizens Theatrewwwcitzcouk

Owen Whitehawas the Fool andDavid Hayman asLear in CitizensTheatrersquos King Lear Photo by TimMorozzo

Scotland Shakes

SHAKESPEARE magazine 41

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Bard in theBotanicsrsquo As You Like

It takes Rosalind andOrlando into theopen air

ldquoTouring is something that we have wanted to do foryears but was somethingthat we could not afford

to do without fundingrdquo says Gordon Barr Artistic Director of Scotlandrsquos only professionaloutdoor Shakespeare festival Bard in theBotanics If therersquos any irony attached tothe companyrsquos first major tour of Scotland which took place in early 2015 itrsquos that theperformances of their acclaimed Romeo and Juliet ndash featuring a cast of five ndash were playedexclusively indoors

ldquoNobody is touring classical theatre in

Scotland at the minute so itrsquos importantto usrdquo Barr adds ldquoOur work is so muchabout accessibility One of the joys of beingoutdoors is that people come to see the work who wouldnrsquot buy a ticket for a theatre Ifyou can bring a picnic sit out on the grass while watching the show it feels easier moreaccessible But people canrsquot come from Thursoto Glasgow for a night just to see a productionof Shakespeare They should be able to see itin Thurso So that is kind of where the urge totour came fromrdquo

Bard in the Botanics has presented outdoorShakespeare within the grounds of GlasgowrsquosBotanic Gardens since 2003 This yearrsquoslsquoUnlikely Wondersrsquo season presented newproductions of Loversquos Labourrsquos Lost The Merchant of Venice Richard II and A Midsummer Nightrsquos Dream in lsquoreprsquo between24 June and 1 August

The companyrsquos founder Scott PalmerBarr explains had done a lot of his training atthe Oregon Shakespeare Festival one of the

biggest in North America ldquoWith the kindof drive and enthusiasm that only Americanshave he managed to convince the entire cityof Glasgow that outdoor Shakespeare would work and that the weather wasnrsquot going to be

a problemrdquoTwo years later Palmer moved on and Barr

ndash originally involved as a director ndash succeededhim as Artistic Director ldquoIf anyone then hadsaid that I would end up spending 12 yearsrunning an outdoor Shakespeare festival I wouldnrsquot have believed themrdquo he says in hisoffice hidden behind some of the Botanicsrsquogardening sheds ldquoI very quickly fell in love with it once I started working here Despiteall the trials and tribulations that outdoortheatre in Scotland brings with it therersquos just

something magical and special about it Itrsquos a very close-knit company and thatrsquos sort of keptus all here as long as we have beenrdquo

While the annual summer season ofShakespeare plays in the Botanics will remainat the centre of what the company does ndashldquoOtherwise Bard in the Botanics becomesa rather strange namerdquo ndash Barr is very much

Outof theGarden

This year has seen Glasgowrsquos Bard in the Botanicsdo something completely unexpected They wentout on a tour of ndash whisper it ndash indoor venueshellip

Scotland Shakes

42 SHAKESPEARE magazine

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Scotland Shakes

SHAKESPEARE magazine 43

focused on building on the touring side ldquoBecause it was our first ever tour we

did end up taking Romeo and Juliet to theestablished Scottish touring circuitrdquo he addsldquoIt takes a while to build up relationships with the smaller venues thatrsquos going to bean ongoing process for us Even so we weretaking Romeo and Juliet to places like Mulland Stranraer ndash communities and venues thathavenrsquot had a lot of classical theatre comingthrough themrdquo

The choice of play was deliberate too ldquoIt was a production that was ready to go whichhad received five star reviews and sold out itsextended run in the Botanics in 2012 So weknew that the work was good but therersquos nodoubt that for a first tour we wanted to makeit easier for the venues to sell it Most venuesknow they can find an audience for Romeo and Juliet rdquo

In time he hopes that audiences aroundthe rest of Scotland will come to trust the Bardin the Botanics name sufficiently to take on theless familiar plays

ldquoYou just donrsquot know how quickly acommunity is going to turn out for Henry IV yetrdquo he says ldquoHopefully three or four toursdown the line theyrsquore going to turn out forBard in the Botanics ndash and if it happens to be

Henry IV well thatrsquos greatrdquoGiven their reimagining of A MidsummerNightrsquos Dream as a 1920s burlesque musicalis there a particular Bard in the Botanicsapproach to Shakespeare

ldquoOur kind of unofficial motto is lsquoBe BoldBe Braversquordquo Barr says ldquoIf wersquore continuingto stage these plays around 400 years afterShakespearersquos death I think therersquos an urgencyto ask lsquoWhyrsquo It is important to questionlsquoWhat is the story that we want to tellrsquo I wantto see how these plays intersect with historyand todayrsquos society not to present museumpieces

ldquoItrsquos always with an eye to try to releasesomething thatrsquos within the textrdquo Barrinsists ldquoWersquore not remotely interested ininnovation for innovationrsquos sake The playsare masterpieces thatrsquos essentially why wersquorestill doing them 400 years later But to revealsomething thatrsquos unexpected or new thatrsquosimportant to usrdquo

Bard in the Botanics

wwwbardinthebotanicscouk

Rosalind and Audreyin the forest Bardin the Botanicsrsquo As You Like It

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Shakespeare at the Tobacco Factory stf 2016 Seasonco-production with Tobacco Factory Theatres

HAMLETBy William Shakespeare

Directed by Andrew Hilton

Main run Thu 11 February ndash Sat 26 March 2016

In repertoire with Allrsquos Well That Ends WellMon 25 ndash Wed 27 April Sat 30 April 2016

The most famous play in world drama Hamlet

turns a new face to every decade So many

elements - political madness sex murder ndash all

brought together in a drama that is both a thriller

and the profoundest meditation on our human

condition

ldquoThrilling workrdquo The Guardian on Romeo amp Juliet

ldquoBullseyerdquo WhatsOnStage on Romeo amp Juliet

Shakespeare at the Tobacco Factory Friends Priority Booking opens Wed 23 September 10am

wwwstf-theatreorguk

Tobacco Factory Theatres Members Priority Booking opens Wed 16 September 10am

wwwtobaccofactorytheatrescom

Public Booking opens Wed 30 September 10am

Tobacco Factory Box Office 0117 902 0344

ALLrsquoS WELL THAT ENDS WELLBy William Shakespeare

Directed by Andrew Hilton

Main run Thu 31 March ndash Sat 23 April 2016

In repertoire with Hamlet

Thu 28 ndash Fri 29 April Sat 30 April

A young woman using skills bequeathed herby her father saves the French Kingrsquos life and

is rewarded with the right to choose her own

husband But what if the chosen one wonrsquot play

the game How can she get him into bed How

can she make him love her

ldquo There is something approaching real

magic hererdquo The Arts Desk on The School for Scandal

P h o t o s M

a r k D o u e t

Dorothea MyerBennett in Richard III

Benjamin Whitrowand Julia Hills in The

School For Scandal

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Having conquered

Hollywood and vanquished

the global entertainment

industry video games now

on our culture So where

does the Bard stand in all of

this We sent a Shakespeare

scholar to investigatehellip

Words Andrew Bretz

Shakespeare video games

46 SHAKESPEARE magazine

T eGamersquos A oot Silent Hill is one

big-name gamewhich includesShakespearereferences

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Shakespeare video games

SHAKESPEARE magazine 47

German cardboard Macbeth datingfrom the early1800s

Hamlet reimaginedRyan Northrsquos To Be

Or Not To Be

W

hen you walk intothe wood panelled Victorian Gothicismof the Gail Kern Paster

Reading Room at theFolger Shakespeare Library in WashingtonDC video games are probably the lastthing on your mind Buried deep withinthe archives however are a set of fragilecardboard figures printed in Germany in theearly 1800s representing each of the maincharacters of Macbeth

Nineteenth century German children would play with these figures on smallcardboard stages no bigger than a dollhouseey could replicate the story as it was toldin Shakespeare or use their imagination tochange the ending letting Lady Macbethsurvive and bringing Duncan back from thedead if they so chosee limits of the game were the limits of their imagination

Today the lsquogamificationrsquo of Shakespeareis a big business from Ryan Northrsquos choose-your-own-adventure edition of Hamlet To Be Or Not To Be to IDW Gamesrsquosupcoming Kill Shakespeare board gamebased on the comic of the same name

Gamifying Shakespeare is filtering intoschools libraries and the theatrical worldas well with the University of California atDavis the Stratford Festival in Ontario theGlobeeatre in London and the LondonMetropolitan Archives all experimenting with video game elements in exhibits productionsand research

Why video games In a sense this is thelogical next step in the media development ofShakespeare Hersquos everywhere in other media

books movies merchandise But videogamese answer for that depends on whoyou ask

StorytellingOccasionally individuals or publishinghouses develop video games that try to tellthe story of say Hamlet yet this is relativelyrare One example would be Elsinore a time-looping narrative adventure game set in the world of the play Players play the game as

Ophelia who wakes up knowing that in fourdays the entire court will be dead and shemust do something to stop ite problemis that she is stuck in a time loop reliving thesame four days over and over againat said Shakespearersquos presence in the

video game industry tends to be focused oncitation rather than adaptation of the playsat is video games for Xbox Playstationand other popular gaming systems often

just cite Shakespearersquos plays as a part of acommon cultural heritageese games donrsquotrestage say Hamlet but they quote the playIn these cases Shakespeare is used to establisha point of identification for the audience His writing tells the audience something aboutthe character or the situation

Given that audiences are supposedto be able to identify the quotations asShakespearean it is unsurprising that Hamlet is the most popular text for game designers to

cite Ine Elder Scrolls Online for instancea merchant NPC (non-player character)quotes Polonius when players interact sayingldquoNeither a borrower nor a lender berdquoe words establish the NPCrsquos role as a merchant while fitting the medieval world of thegame In the game LA Noire upon pickingup a fake shrunken head at a crime scene adetective leaps into high melodrama withldquoAlas poor Yorick I knew him Horatiordquoequotation and the clever voice acting establish

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Shakespeare video games

48 SHAKESPEARE magazine

the characterrsquos strait-laced yet macabre senseof humour

Sometimes citing Shakespeare is a partof a critique of a larger theme In the game Mass E ff ect the Elcor are a race of elephantinealiens who preface all statements with adescription of the emotion they are feelingand who speak in a slow monotonous drone As players interact with the expansive worldthey can discover a number of advertisementsfor an all-Elcor Hamlet e idea of theElcor actor ndash the ultimate in a flat woodenperformer ndash having to preface ldquoTo be or not

to berdquo with ldquomorose ruminationrdquo goes beyondthe simple humour of a bad Shakespeareperformance It subtly asks what it is aboutacting (and especially voice acting) that isvaluable

Shakespeare can appear in video gamesnot merely as a marker or contextualisationtool but as a part of a puzzle For example inthe game Silent Hill 3 players must arrange aset of Shakespeare anthologies on a bookshelfin an abandoned shopping mall in order to

proceed in the game At the hardest levelthe puzzle clue takes the form of a poemthat references all the major tragedies Romeoand Juliet King Lear Macbeth Othello andof course Hamlet e bloody nature of thetragedies fits with the bloody nature of theSilent Hill series of games which fall into thesurvival horror genre

Popular video games have also servedas the inspiration for games that engage with Shakespeare in a more direct way For

example Daniel Fischlin at the Universityof Guelph in Ontario Canada led a teamthat created a Flash game called rsquoSpeare Itrsquos

a scrolling arcade-style game suggesting thersquo80s hit Galaga which sees players identifyingand navigating through a series of enemies who turn into words upon being destroyede player progresses through the levelsby collecting the correct words to createShakespearean quotes learning Shakespeareantrivia along the way

ImmersionOne of the most exciting aspects of videogames is the ability to immerse the player inthe world of the game in a way that othermedia simply cannot do Being able to walkaround Prosperorsquos cell Julietrsquos balcony orto stand before the ghost of Hamletrsquos fatheras he cries out ldquoList list O listrdquo ndash theseexperiences are made possible through videogame technology

Students of Scenic Arts at the Universityof Hildesheim in Germany created Projekt ARIEL or SturmMOD in 2008 using a lsquomodrsquo(or modification) to the engine that runs

the game Far Cry 1 e performance artproject allowed users to experience Prosperorsquosisland interacting with certain parts andexploring others Players could walk aroundan imaginative rendition of Prosperorsquos cell and witness or interact with elements of the playincluding diff erent characters like CalibanProspero and Miranda

Four days to savethe Danish court

Elsinore

Another Hamlet reference this timein LA Noire

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Shakespeare video games

SHAKESPEARE magazine 49

Gina Bloom at the University of Californiaat Davis is presently spearheading a projectthat will be demonstrated in the lobby of theStratford Festival theatre in Ontario Canadathis summere project Play the Knave AShakespeare Performance Videogame lets usersdesign a virtual performance space and thenperform a scene from a Shakespeare playinhabiting this constructed space with anavatar As a Davis insider explains ldquoWe use akinect motion capture camera to capture theuserrsquos skeletal data so that players use theirentire bodies to control their avatarrsquos gesturesonscreen all the while reciting the lines from

Shakespearersquos scenerdquo is literally immersesthe players in the scene

Shakespearersquos Globe eatre in Londontook another tactic regarding immersionin the production of the game HemmingsrsquoPlay Company Hosted on the Playgroundportion of the Globersquos website and thusaimed at an audience of children the gamehas players taking on the role of Hemmingsan Elizabethan bear who leads a troupe oftheatrical animals such as Kit the Cat Dekker

the Dog and Slye the Foxe turn-based game leads players through

the vagaries of Elizabethan theatre practicefrom patronage to lost props and the plagueBy the end of the game players must earnenough money to rebuild the Globe after itburns down during a performance of HenryVIII

Also from Shakespearersquos Globe are twoinnovative video experiences created forchildren aged five to 11 e first Exploring

Shakespeare features two boys on a tour ofthe Globe theatre who sneak off to explorebackstage e video illustrates four plays

using short animations that are keyedto things the boys find backstage etechnology combines live action film andanimation to create an interactive touchablegame Filled with mini-games quizzes andinteresting facts about Shakespeare the gameallows players to click through the narrativeor to stop and learn more as they go along

e second video called Staging It usesthe same technology as the first film but thistime is for the 11-16 age group In this gamee Globe has filmed two actors performingfamous duologues from A MidsummerNightrsquos Dream and Macbeth on the Globestage Rather than shoot it once the actorshave performed their lines in diff erent ways(happy flirtatious defensive and so on)creating several diff erent clips per linePlayers can watch each of the clips and addtheir choice to a dynamic storyboard tobuild up their final scene Impressively theplatform allows for up to 1000000 diff erentcombinations of clips

Apps and Mini-GamesItrsquos when you start to look outside of therealm of popular video game platformslike Xbox or Playstation that Shakespeare

Silent Hill 3 Brush upyour Shakespeare ifyou want to survive

Hemmingsrsquo PlayCompany fromShakespearersquosGlobe

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Shakespeare video games

50 SHAKESPEARE magazine

really starts to pop up wherever you looke ubiquity of Shakespeare is especiallynoticeable when you start to look at apps andmini-games designed for phones and tablets

In 2012 Big Fish Games released aniPhone and iPad game called Hamlet that featured all the main characters ofShakespearersquos play but transposed them intoa save-the-princess narrative puzzle game A time traveller lands in Denmark andaccidentally kills Hamlet and so players mustcomplete his journey for him saving Opheliaand killing Claudiuse Shakespeareancontent is minimal and heavily adapted andyet it fits with the puzzle format in whichShakespeare tends to be found in videogamese Chronicles of Shakespeare Romeo amp

Juliet ande Chronicles of Shakespeare A Midsummer Nightrsquos Dream are lusciously-illustrated puzzle games for the PC In themplayers act as one of the characters from theplays gathering items and clues through aShakespearean environment

Among the literally thousands of appsrelated to Shakespeare that can be found forthe iPad or Android tablet are

e Shakespearean Insult Creator which generates invectives drawn from a wholly Shakespearean vocabulary So nexttime you want to call someone a jerk trysomething more like ldquoou fusty follyfallenfustilarianrdquo

e Shakespeare Translator whichtranslates ldquonormal English words and phrasesinto the words of Shakespeare himselfrdquo

e Shakespeare Fortune Cookie which provides short quotes from the plays

and a small trivia game Shakespeare or Die a game that

scrambles the words of famous quotationsfrom the plays and asks you to identify theplay and character who spoke the line If youmake a mistake however beware the witchesese apps are either explicitly games or

they are coming out of a game-like impulse tomake Shakespeare more accessible to everyone with an internet connection

Brave New WorldsIn a world where Shakespeare is an industrycounted in the millions of dollars per yearit is so easy to forget that Shakespearersquos playsare just that ndash playsere is a sense of joyand fun and happiness embedded in theexperience of watching them Games are oneof the ways that people over the centuries

have tried to recapture that elusive sense ofplayfulness within Shakespeare So it makesperfect sense that now with the advent ofdigital technologies Shakespeare is movinginto the digital world with a vengeance

From big studio games likee ElderScrolls to small apps that can be downloadedfor free from talking bears to immersiveperformance experiences Shakespeare iseverywhere in video games Rather than beingan undiscovered country into which the Bard

is only just beginning to emerge games havein fact engaged with Shakespeare and his works for hundreds of years And they willprobably continue to do so for hundreds ofyears to come

rsquoSpeare is a scrollingarcade-stylegame with addedShakespeare trivia

Hamlet is aShakespeare-themed puzzle fromBig Fish Games

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Meet thy makers

Helen Mears fell into bardolatryduring her teenage years and has

never recovered She is a volunteersteward at Shakespearersquos Globe

which ensures a regular diet of theBard She teaches English Film andMedia at Suffolk New College and isa specialist in teaching Shakespeareusing active methods Her favouriteShakespearean actor is Jamie Parker

and her favourite plays are the SecondHistory Tetralogy She hopes to

finish her Masters in the AdvancedTeaching of Shakespeare very soonFind her on Twitter hipster_hels

Paul F Cockburn is an Edinburgh-based freelance magazine journalist who specialises in writing about

arts and culture equality issues andpopular science Hersquos sufficiently

grey-haired for his English Literaturetraining to have sort of overlapped

with The BBC Television Shakespeareproject saving at least some of the

plays from death by academiaFind him on Twitter paulfcockburn

Jen Richardson first fell in love withShakespeare as a 15-year-old schoolgirl

ldquoHe got under my skin and hersquos still theretodayrdquo After training with a Manchester-based drama tutor she went on to pursuean acting career Drama remains a greatinterest but her focus is now on sharing

her passion for Shakespeare throughher writing In her spare time Jen is

generally down in Stratford-upon-Avonsitting on her favourite bench behind

Holy Trinity ChurchFind her on Twitter The_JenJen

Andrew Bretz is a sessional instructorof English Literature and Drama

specialising in early modern dramaHe has taught at Wilfrid LaurierUniversity the University of Guelph

Brock University and McMasterUniversity For the past two years he

has taught a special summer intensiveat Ontariorsquos Stratford Festival His PhDdissertation was on the representationof sexual violence on the early modern

stage Find him on TwitterAndrewBretz001

Just some of the contributors to this issue of Shakespeare Magazine

Rosalind Lyons is a painter whohas exhibited widely in both mixedand solo shows with work in UK

and international private collections A life-long love of Shakespeare isreflected in many of her paintings

and a particular recent focus isShakespearersquos Globe theatre where shespent a period as artist-in-residenceShe is currently studying for a PhD

in Painting and ShakespeareanTheatre at Anglia Ruskin University

in CambridgeFind her on Twitter roslyons

52 SHAKESPEARE magazine

Contributors

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Page 34: Shakespeare Magazine 08

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Aidan OrsquoReilly

34 SHAKESPEARE magazine

Looking forRichard AidanOrsquoReilly is playingShakespearersquosbaddest monarch

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Aidan OrsquoReilly

SHAKESPEARE magazine 35

You are legally blind having been

diagnosed with retinoblastoma as an

infant How did this impact on your

acting aspirations and early career

ldquoMy parents did a good job raising me Inever grew up thinking of it as a handicap orthinking it could hold me back from what I wanted to do I couldnrsquot play sports at all soI think my parents were grateful that I hadsomething that I was passionate about from avery young age

ldquoI went to a public elementary school with a program designed for the blind so itfelt very natural for me to be the way that I was And acting has always been part of thatrdquo

You went to RADA in London Was

there a reason why you wanted to

train in England and not in the US

ldquoItrsquos always been an ambition of mine to

travel as far and wide as possible Also myhero growing up was Peter OrsquoToole ndash Iread his autobiography in high school andlearned he had gone to RADA and decided I wanted to go there too So I auditioned therenot knowing that RADA is arguably thebest drama school in the English-speaking world Consequently I was quite relaxed atthe audition which is probably why I gotin My ignorance can sometimes serve me well Going to RADA was a life-changing

Aidan OrsquoReilly is an actor with an

inspiring story Legally blind since he

was six months old he forged a passionfor drama at an early age Aidan went

on to gain a BA with honours from

Londonrsquos Royal Academy of Dramatic

Art before touring for three years with

the American Shakespeare Center

In 2012 Aidan was diagnosed with

sarcoma a rare cancer He bounced

back in 2014 after intensive treatment

and is now cancer-free We spoke to

Aidan as he prepared to play the title

role in Richard III for Californiarsquos Marin

Shakespeare Company We asked himto share his story and to give us his

take on one of Shakespearersquos most

fascinating characters

Interview by Jen Richardson

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Aidan OrsquoReilly

36 SHAKESPEARE magazine

experience I was lucky enough to havecontact with brilliant professors and Irsquom stillin awe of the students I went to school withI wouldnrsquot trade that experience for anythingrdquo After graduating from RADA you

went on the road with the American

Shakespeare Center Tell us a bit

about that

ldquoThat was one of the happiest times of mylife In many ways I got spoiled I was a working actor 11 months out of the yeartouring nationally seeing parts of the USI had never been to before doing plays Iloved and working with directors who werevehemently faithful and respectful to the text When I wasnrsquot on the road I was in residenceat the Blackfriars Playhouse in StauntonVirginia with many extraordinary actorsI was very lucky to be thererdquo

Three years ago you were diagnosed

with sarcoma How did you

overcome this enormous challenge

and return to the stage in 2014

ldquoThe only reason Irsquom still alive is because ofmy mother Lily and my wife Jocelynn AlsoI was fortunate that we caught it before it hadspread and it was on my leg and away fromany major organs

ldquoI am very grateful for my team of doctorsat UCSF who did an incredible job in mytreatment and follow-up care Irsquom glad to beback to workrdquo Yoursquore now due to play Richard III

with Marin Shakespeare Company

Howrsquos it going so far

ldquoAt this point Irsquom in the paperwork stage

of things A lot of reading the HenryVI s biographies of Richard as well asperformance history of the play itself Irsquomdoing a fair amount of limping around myapartment as well I canrsquot wait to get intorehearsals next weekrdquo Tell us about Marin Shakespeare

Company and what appealed to you

about working with them

ldquoRobert and Lesley [Currier MSCrsquos Artistic

Director and Managing Director] arefascinating people Their intelligence andhumour is contagious Without questionthere is a lot to be learned from themrdquo Richard IIIrsquos remains were discovered

in 2012 and reburied this year Is all

the new information about Richard

influencing your portrayal

ldquoYes and no My job isnrsquot to play the historicalRichard but the Richard that Shakespeare has

Aidan believesthat Richard IIIrsquosobsession withcontrol is whatcauses his downfall

ldquoPeter OrsquoToole wasmy hero He went to

RADA so I wanted to go there toordquo

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Crowning gloryAidan with MarinShakespearersquosRobert Currier

created Itrsquos helpful to know the facts of thesituation in order to gain insight into whathas been changed in Shakespearersquos versionof events

ldquoI met with a friend of mine who is a

retired surgeon who walked me through themedical information that has come to lighton Richardrsquos body and I will certainly usethat to inform my physical choicesrdquo Unlike many actors yoursquore the right

age to play the historical Richard III

Do you feel Richardrsquos relative youth

has been overlooked

ldquoI do Richard is a young man who believeshe is hardened by the experiences he andhis family endured during the War of theRoses and believes himself to be beyondhuman emotions and the lsquorestrictionsrsquo of aconscience He isnrsquot He pays the bill for thehorrible things he does That lack of self-knowledge is not exclusive to youth but I feelit makes him more sympathetic and relatableto an audiencerdquo Some people think Richard III shows

Shakespeare delivering a highly

effective piece of Tudor propaganda

Where do you stand on thatldquoI think Shakespeare has a soft spot foroutsiders and underdogs Although his playssometimes work within the confines of thebiases of Elizabethan society he canrsquot help butmake his lsquovillainsrsquo fascinating human beings

For as horrible as Richard is itrsquos amazing tosee how audiences relate and respond to himrdquo Which other important themes do

you feel Shakespeare deals with in

the playldquoThe history plays are full of extraordinarypeople who waste their lives and intelligence who sacrifice their humanity in pursuit of thecrown Itrsquos still happening today What is theattraction of power Richard never pauses tothink of why he wants the crown or if hersquodbe any good as king Turns out hersquos not butitrsquos this bizarre obsession with control thatpropels him to kill everyone off thatrsquos in his way Itrsquos also fascinating that the one characterthat is consistently kind to Richard is hisfather York

ldquoI think an argument can be made thatRichard in his warped way is trying to liveup to the image he has of his father Ofcourse York is dead and gone by the timeRichard III begins but you can glean a lotabout Richardrsquos inner workings in the way hespeaks about his father Of course itrsquos foolishto try to answer questions that Shakespearedoesnrsquot and Irsquom not trying to say this solvesa mystery but I think itrsquos interesting Itrsquos only

an element itrsquos not the answerrdquo Richard III is listed as a historical

play in the First Folio but in the

quarto edition it is termed a tragedy

Which category would you put the

play in and why

ldquoI think of the history plays from Richard II to Richard III as one vast play an epic thatencompasses all the categories I think if youlook at Richardrsquos progression through those

plays you see a great mind warped by the War of the Roses and that certainly adds tothe tragic element I think of Richard III asthe final chapter of a great epicrdquo

Aidan OrsquoReilly stars in Marin ShakespeareCompanyrsquos Richard III from 4-27 September

Aidan OrsquoReilly

SHAKESPEARE magazine 37

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Scotland Shakes

SHAKESPEARE magazine 39

Bonnie Prince

Brian Fergusonas Hamlet in theCitizens Theatre

production Photoby Tim Morozzo

Billy William Shakespeare is undoubtedly Englandrsquos

Bard But how is he viewed north of the border

Our Caledonian correspondent surveys the state

of Shakespeare in Scotland and meets esteemed

outdoor theatre company Bard in the Botanics

Words Paul F Cockburn

T owards the end of May thisyear a BBC Scotland afternoon

news bulletin surprisinglyturned its attention to aforthcoming production of

ldquoone of William Shakespearersquos best lovedplaysrdquo ndash A Midsummer Nightrsquos DreamHowever this particular production wasnrsquotconsidered newsworthy because it came froman amateur group based in Dumfries andGalloway Not even that the CrossmichaelDrama Club were one of just seven amateurScottish groups taking part in the Royal

Shakespeare Companyrsquos Open Stages project which aims to help amateur companies

extend their repertoiresNo the lsquohookrsquo was how this newproduction was Shakespeare ldquobut no asyou micht ken itrdquo Because it had beenreimagined in Scots as A MidsimmerNichtrsquos Dreme

As it happens writer John Burns saysthat his principle reason for translating AMidsimmer Nichtrsquos Dreme was simply theintuition that it being in Scots would workto the benefit of the production ldquoItrsquos not

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Scotland Shakes

40 SHAKESPEARE magazine

so much that 16th century English canrsquot docertain things more that using Scots brings itcloser to a Scottish audience and to audiences who might think Shakespeare too fancyrdquo hesays ldquoI feel too that Scots can catch the sheerphysical power of Shakespearersquos language He writes lines you really feel physically when

you say them out loud My intention was touse Scots to produce a text that was actableand which would be accessible and enjoyablefor the audience and the Scots was a majorpart of thatrdquo

Arguably translating Shakespeare intoScots ndash viewed by many as a distinct languagefrom English ndash is just one way of finding thecontinued relevancies of Shakespearersquos writing with the here and now Certainly John Burns was keen to see if Scots ldquocould match the way

Shakespeare switches tonehellip from broad attimes bawdy humour to moments that aremore serious or even sinisterrdquo

Yet there is a wider perspective whether wersquore discussing translation into Scots orsaying Shakespearersquos words with a Scottishaccent Willy Maley and Andrew Murphyin their introduction to Shakespeare andScotland (published by Manchester UniversityPress in 2004) go as far as describing thetranslation of Shakespearersquos Macbeth into

Scots as ldquoa patriotic actrdquo not least becauseof ldquothe political commitment implicit intranslating from English to Scots reversing

the dominant dubbing practice infi

lmsrdquoGlasgow-based novelist and playwright Alan Bissett ndash who actively campaigned fora Yes vote during last yearrsquos IndependenceReferendum ndash has since written about howsince the 1970s Scottish theatre had ldquoadeep engagement with the shifting beastof Scottish politicsrdquo Although Bissett wasfocusing primarily on original works byScottish playwrights and directors itrsquos worthpointing out that Shakespeare ndash despite therebeing absolutely no evidence to prove he evertravelled north of Carlisle ndash has played hisown part in this

As Maley and Murphy point outldquoScotlandhellip never had precisely the samerelationship with the Bard as England hasbut has experienced a fraught process ofappropriation incorporation and resistancerdquoIn part this is because Shakespeare ndash in hislatter career ndash was among the first lsquoBritishrsquo writers Many of his later plays ndash Cymbeline King Lear even Hamlet ndash were produced

A tartan-cladAntipholus andDromio in Bard inthe Botanicsrsquo TheComedy of Errors

Brian FergusonrsquosHamlet CitizensTheatre productionPhoto by TimMorozzo

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under the patronage of Scotlandrsquos King JamesVI (aka James I of England) Each in theirown way can be said to touch on ldquothe matterof Britainrdquo the complex relationship between

the constituent elements of Jamesrsquos newlsquounitedrsquo kingdom which the Stuart monarch was determined to see joined into oneat never quite happened of course

Even after the 1707 Act of UnionScotland retained its own legal educationaland religious systems along with anaccompanying sense of Scottish identity ndash which survived even the height of the Britishempire Yet from the 1970s on there havebeen notable changes in how Shakespeareis treated by Scotlandrsquos producing theatrecompanies Several years ago GlasgowrsquosCitizenseatre delivered a powerful Romeoand Juliet in part because of their decision toset the action in a present-day sectarian Westof Scotland ndash with accents to match

ldquoEnglish-accented Shakespeare carriesa specific resonance in Scotland one thatdirectors usually choose to avoidrdquo pointsout Mark Fisher a freelance journalist criticand author of the forthcoming book How toWrite Abouteatre

ldquoIrsquom not sure exactly when attitudesstarted to change but Irsquod say the argumentin favour of Scottish-accented productionshad been pretty much won by the 1990sBy that time companies such as Raindogand directors such as Hamish Glen hadbeen making a point of casting very Scottishproductions of Shakespearerdquo

One example of how things hadprogressed even by 1992 was the late KennyIrelandrsquos production of A Midsummer

Nightrsquos Dream his first as Artistic Directorat Edinburghrsquos Royal Lyceum ldquoHe castthe mechanicals with Scottish accents andeveryone else with English accentsrdquo MarkFisher explains ldquois I said in my review wasa fundamental error ndash or some such phrasee message it sent out was that people withScottish accents were foolish figures of fun whereas people with English accents wereserious figures of respect

ldquoIreland reacted furiously to my review

and made the case that he had based thecasting of the mechanicals around (the actor) Andy Gray who has a Scottish accent Inother words the meaning I inferred hadnot been deliberate I think itrsquos true to sayhowever that Ireland never cast a Shakespearelike that againrdquo

Gordon Barr is Artistic Director of

Glasgow-based Bard in the BotanicsScotlandrsquos only professional Shakespearecompany (see following pages)

ldquoWersquove never gone out of our way tomake Scottish versions of these texts norhave we gone out of our way to have classicaltraditional voicesrdquo he says ldquoMost of our coreactors have made their careers up here so wethink of them as Scottish actors

ldquoat is important to us to not overlylook outwards for the acting company As

much as possible we work with people who are based in Scotland Wersquore regularlyproducing Shakespeare here and we want tobe a part of the training to ensure that there isa range of strong classical actors hererdquo

Citizens Theatrewwwcitzcouk

Owen Whitehawas the Fool andDavid Hayman asLear in CitizensTheatrersquos King Lear Photo by TimMorozzo

Scotland Shakes

SHAKESPEARE magazine 41

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Bard in theBotanicsrsquo As You Like

It takes Rosalind andOrlando into theopen air

ldquoTouring is something that we have wanted to do foryears but was somethingthat we could not afford

to do without fundingrdquo says Gordon Barr Artistic Director of Scotlandrsquos only professionaloutdoor Shakespeare festival Bard in theBotanics If therersquos any irony attached tothe companyrsquos first major tour of Scotland which took place in early 2015 itrsquos that theperformances of their acclaimed Romeo and Juliet ndash featuring a cast of five ndash were playedexclusively indoors

ldquoNobody is touring classical theatre in

Scotland at the minute so itrsquos importantto usrdquo Barr adds ldquoOur work is so muchabout accessibility One of the joys of beingoutdoors is that people come to see the work who wouldnrsquot buy a ticket for a theatre Ifyou can bring a picnic sit out on the grass while watching the show it feels easier moreaccessible But people canrsquot come from Thursoto Glasgow for a night just to see a productionof Shakespeare They should be able to see itin Thurso So that is kind of where the urge totour came fromrdquo

Bard in the Botanics has presented outdoorShakespeare within the grounds of GlasgowrsquosBotanic Gardens since 2003 This yearrsquoslsquoUnlikely Wondersrsquo season presented newproductions of Loversquos Labourrsquos Lost The Merchant of Venice Richard II and A Midsummer Nightrsquos Dream in lsquoreprsquo between24 June and 1 August

The companyrsquos founder Scott PalmerBarr explains had done a lot of his training atthe Oregon Shakespeare Festival one of the

biggest in North America ldquoWith the kindof drive and enthusiasm that only Americanshave he managed to convince the entire cityof Glasgow that outdoor Shakespeare would work and that the weather wasnrsquot going to be

a problemrdquoTwo years later Palmer moved on and Barr

ndash originally involved as a director ndash succeededhim as Artistic Director ldquoIf anyone then hadsaid that I would end up spending 12 yearsrunning an outdoor Shakespeare festival I wouldnrsquot have believed themrdquo he says in hisoffice hidden behind some of the Botanicsrsquogardening sheds ldquoI very quickly fell in love with it once I started working here Despiteall the trials and tribulations that outdoortheatre in Scotland brings with it therersquos just

something magical and special about it Itrsquos a very close-knit company and thatrsquos sort of keptus all here as long as we have beenrdquo

While the annual summer season ofShakespeare plays in the Botanics will remainat the centre of what the company does ndashldquoOtherwise Bard in the Botanics becomesa rather strange namerdquo ndash Barr is very much

Outof theGarden

This year has seen Glasgowrsquos Bard in the Botanicsdo something completely unexpected They wentout on a tour of ndash whisper it ndash indoor venueshellip

Scotland Shakes

42 SHAKESPEARE magazine

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Scotland Shakes

SHAKESPEARE magazine 43

focused on building on the touring side ldquoBecause it was our first ever tour we

did end up taking Romeo and Juliet to theestablished Scottish touring circuitrdquo he addsldquoIt takes a while to build up relationships with the smaller venues thatrsquos going to bean ongoing process for us Even so we weretaking Romeo and Juliet to places like Mulland Stranraer ndash communities and venues thathavenrsquot had a lot of classical theatre comingthrough themrdquo

The choice of play was deliberate too ldquoIt was a production that was ready to go whichhad received five star reviews and sold out itsextended run in the Botanics in 2012 So weknew that the work was good but therersquos nodoubt that for a first tour we wanted to makeit easier for the venues to sell it Most venuesknow they can find an audience for Romeo and Juliet rdquo

In time he hopes that audiences aroundthe rest of Scotland will come to trust the Bardin the Botanics name sufficiently to take on theless familiar plays

ldquoYou just donrsquot know how quickly acommunity is going to turn out for Henry IV yetrdquo he says ldquoHopefully three or four toursdown the line theyrsquore going to turn out forBard in the Botanics ndash and if it happens to be

Henry IV well thatrsquos greatrdquoGiven their reimagining of A MidsummerNightrsquos Dream as a 1920s burlesque musicalis there a particular Bard in the Botanicsapproach to Shakespeare

ldquoOur kind of unofficial motto is lsquoBe BoldBe Braversquordquo Barr says ldquoIf wersquore continuingto stage these plays around 400 years afterShakespearersquos death I think therersquos an urgencyto ask lsquoWhyrsquo It is important to questionlsquoWhat is the story that we want to tellrsquo I wantto see how these plays intersect with historyand todayrsquos society not to present museumpieces

ldquoItrsquos always with an eye to try to releasesomething thatrsquos within the textrdquo Barrinsists ldquoWersquore not remotely interested ininnovation for innovationrsquos sake The playsare masterpieces thatrsquos essentially why wersquorestill doing them 400 years later But to revealsomething thatrsquos unexpected or new thatrsquosimportant to usrdquo

Bard in the Botanics

wwwbardinthebotanicscouk

Rosalind and Audreyin the forest Bardin the Botanicsrsquo As You Like It

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Shakespeare at the Tobacco Factory stf 2016 Seasonco-production with Tobacco Factory Theatres

HAMLETBy William Shakespeare

Directed by Andrew Hilton

Main run Thu 11 February ndash Sat 26 March 2016

In repertoire with Allrsquos Well That Ends WellMon 25 ndash Wed 27 April Sat 30 April 2016

The most famous play in world drama Hamlet

turns a new face to every decade So many

elements - political madness sex murder ndash all

brought together in a drama that is both a thriller

and the profoundest meditation on our human

condition

ldquoThrilling workrdquo The Guardian on Romeo amp Juliet

ldquoBullseyerdquo WhatsOnStage on Romeo amp Juliet

Shakespeare at the Tobacco Factory Friends Priority Booking opens Wed 23 September 10am

wwwstf-theatreorguk

Tobacco Factory Theatres Members Priority Booking opens Wed 16 September 10am

wwwtobaccofactorytheatrescom

Public Booking opens Wed 30 September 10am

Tobacco Factory Box Office 0117 902 0344

ALLrsquoS WELL THAT ENDS WELLBy William Shakespeare

Directed by Andrew Hilton

Main run Thu 31 March ndash Sat 23 April 2016

In repertoire with Hamlet

Thu 28 ndash Fri 29 April Sat 30 April

A young woman using skills bequeathed herby her father saves the French Kingrsquos life and

is rewarded with the right to choose her own

husband But what if the chosen one wonrsquot play

the game How can she get him into bed How

can she make him love her

ldquo There is something approaching real

magic hererdquo The Arts Desk on The School for Scandal

P h o t o s M

a r k D o u e t

Dorothea MyerBennett in Richard III

Benjamin Whitrowand Julia Hills in The

School For Scandal

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Having conquered

Hollywood and vanquished

the global entertainment

industry video games now

on our culture So where

does the Bard stand in all of

this We sent a Shakespeare

scholar to investigatehellip

Words Andrew Bretz

Shakespeare video games

46 SHAKESPEARE magazine

T eGamersquos A oot Silent Hill is one

big-name gamewhich includesShakespearereferences

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Shakespeare video games

SHAKESPEARE magazine 47

German cardboard Macbeth datingfrom the early1800s

Hamlet reimaginedRyan Northrsquos To Be

Or Not To Be

W

hen you walk intothe wood panelled Victorian Gothicismof the Gail Kern Paster

Reading Room at theFolger Shakespeare Library in WashingtonDC video games are probably the lastthing on your mind Buried deep withinthe archives however are a set of fragilecardboard figures printed in Germany in theearly 1800s representing each of the maincharacters of Macbeth

Nineteenth century German children would play with these figures on smallcardboard stages no bigger than a dollhouseey could replicate the story as it was toldin Shakespeare or use their imagination tochange the ending letting Lady Macbethsurvive and bringing Duncan back from thedead if they so chosee limits of the game were the limits of their imagination

Today the lsquogamificationrsquo of Shakespeareis a big business from Ryan Northrsquos choose-your-own-adventure edition of Hamlet To Be Or Not To Be to IDW Gamesrsquosupcoming Kill Shakespeare board gamebased on the comic of the same name

Gamifying Shakespeare is filtering intoschools libraries and the theatrical worldas well with the University of California atDavis the Stratford Festival in Ontario theGlobeeatre in London and the LondonMetropolitan Archives all experimenting with video game elements in exhibits productionsand research

Why video games In a sense this is thelogical next step in the media development ofShakespeare Hersquos everywhere in other media

books movies merchandise But videogamese answer for that depends on whoyou ask

StorytellingOccasionally individuals or publishinghouses develop video games that try to tellthe story of say Hamlet yet this is relativelyrare One example would be Elsinore a time-looping narrative adventure game set in the world of the play Players play the game as

Ophelia who wakes up knowing that in fourdays the entire court will be dead and shemust do something to stop ite problemis that she is stuck in a time loop reliving thesame four days over and over againat said Shakespearersquos presence in the

video game industry tends to be focused oncitation rather than adaptation of the playsat is video games for Xbox Playstationand other popular gaming systems often

just cite Shakespearersquos plays as a part of acommon cultural heritageese games donrsquotrestage say Hamlet but they quote the playIn these cases Shakespeare is used to establisha point of identification for the audience His writing tells the audience something aboutthe character or the situation

Given that audiences are supposedto be able to identify the quotations asShakespearean it is unsurprising that Hamlet is the most popular text for game designers to

cite Ine Elder Scrolls Online for instancea merchant NPC (non-player character)quotes Polonius when players interact sayingldquoNeither a borrower nor a lender berdquoe words establish the NPCrsquos role as a merchant while fitting the medieval world of thegame In the game LA Noire upon pickingup a fake shrunken head at a crime scene adetective leaps into high melodrama withldquoAlas poor Yorick I knew him Horatiordquoequotation and the clever voice acting establish

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Shakespeare video games

48 SHAKESPEARE magazine

the characterrsquos strait-laced yet macabre senseof humour

Sometimes citing Shakespeare is a partof a critique of a larger theme In the game Mass E ff ect the Elcor are a race of elephantinealiens who preface all statements with adescription of the emotion they are feelingand who speak in a slow monotonous drone As players interact with the expansive worldthey can discover a number of advertisementsfor an all-Elcor Hamlet e idea of theElcor actor ndash the ultimate in a flat woodenperformer ndash having to preface ldquoTo be or not

to berdquo with ldquomorose ruminationrdquo goes beyondthe simple humour of a bad Shakespeareperformance It subtly asks what it is aboutacting (and especially voice acting) that isvaluable

Shakespeare can appear in video gamesnot merely as a marker or contextualisationtool but as a part of a puzzle For example inthe game Silent Hill 3 players must arrange aset of Shakespeare anthologies on a bookshelfin an abandoned shopping mall in order to

proceed in the game At the hardest levelthe puzzle clue takes the form of a poemthat references all the major tragedies Romeoand Juliet King Lear Macbeth Othello andof course Hamlet e bloody nature of thetragedies fits with the bloody nature of theSilent Hill series of games which fall into thesurvival horror genre

Popular video games have also servedas the inspiration for games that engage with Shakespeare in a more direct way For

example Daniel Fischlin at the Universityof Guelph in Ontario Canada led a teamthat created a Flash game called rsquoSpeare Itrsquos

a scrolling arcade-style game suggesting thersquo80s hit Galaga which sees players identifyingand navigating through a series of enemies who turn into words upon being destroyede player progresses through the levelsby collecting the correct words to createShakespearean quotes learning Shakespeareantrivia along the way

ImmersionOne of the most exciting aspects of videogames is the ability to immerse the player inthe world of the game in a way that othermedia simply cannot do Being able to walkaround Prosperorsquos cell Julietrsquos balcony orto stand before the ghost of Hamletrsquos fatheras he cries out ldquoList list O listrdquo ndash theseexperiences are made possible through videogame technology

Students of Scenic Arts at the Universityof Hildesheim in Germany created Projekt ARIEL or SturmMOD in 2008 using a lsquomodrsquo(or modification) to the engine that runs

the game Far Cry 1 e performance artproject allowed users to experience Prosperorsquosisland interacting with certain parts andexploring others Players could walk aroundan imaginative rendition of Prosperorsquos cell and witness or interact with elements of the playincluding diff erent characters like CalibanProspero and Miranda

Four days to savethe Danish court

Elsinore

Another Hamlet reference this timein LA Noire

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Shakespeare video games

SHAKESPEARE magazine 49

Gina Bloom at the University of Californiaat Davis is presently spearheading a projectthat will be demonstrated in the lobby of theStratford Festival theatre in Ontario Canadathis summere project Play the Knave AShakespeare Performance Videogame lets usersdesign a virtual performance space and thenperform a scene from a Shakespeare playinhabiting this constructed space with anavatar As a Davis insider explains ldquoWe use akinect motion capture camera to capture theuserrsquos skeletal data so that players use theirentire bodies to control their avatarrsquos gesturesonscreen all the while reciting the lines from

Shakespearersquos scenerdquo is literally immersesthe players in the scene

Shakespearersquos Globe eatre in Londontook another tactic regarding immersionin the production of the game HemmingsrsquoPlay Company Hosted on the Playgroundportion of the Globersquos website and thusaimed at an audience of children the gamehas players taking on the role of Hemmingsan Elizabethan bear who leads a troupe oftheatrical animals such as Kit the Cat Dekker

the Dog and Slye the Foxe turn-based game leads players through

the vagaries of Elizabethan theatre practicefrom patronage to lost props and the plagueBy the end of the game players must earnenough money to rebuild the Globe after itburns down during a performance of HenryVIII

Also from Shakespearersquos Globe are twoinnovative video experiences created forchildren aged five to 11 e first Exploring

Shakespeare features two boys on a tour ofthe Globe theatre who sneak off to explorebackstage e video illustrates four plays

using short animations that are keyedto things the boys find backstage etechnology combines live action film andanimation to create an interactive touchablegame Filled with mini-games quizzes andinteresting facts about Shakespeare the gameallows players to click through the narrativeor to stop and learn more as they go along

e second video called Staging It usesthe same technology as the first film but thistime is for the 11-16 age group In this gamee Globe has filmed two actors performingfamous duologues from A MidsummerNightrsquos Dream and Macbeth on the Globestage Rather than shoot it once the actorshave performed their lines in diff erent ways(happy flirtatious defensive and so on)creating several diff erent clips per linePlayers can watch each of the clips and addtheir choice to a dynamic storyboard tobuild up their final scene Impressively theplatform allows for up to 1000000 diff erentcombinations of clips

Apps and Mini-GamesItrsquos when you start to look outside of therealm of popular video game platformslike Xbox or Playstation that Shakespeare

Silent Hill 3 Brush upyour Shakespeare ifyou want to survive

Hemmingsrsquo PlayCompany fromShakespearersquosGlobe

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Shakespeare video games

50 SHAKESPEARE magazine

really starts to pop up wherever you looke ubiquity of Shakespeare is especiallynoticeable when you start to look at apps andmini-games designed for phones and tablets

In 2012 Big Fish Games released aniPhone and iPad game called Hamlet that featured all the main characters ofShakespearersquos play but transposed them intoa save-the-princess narrative puzzle game A time traveller lands in Denmark andaccidentally kills Hamlet and so players mustcomplete his journey for him saving Opheliaand killing Claudiuse Shakespeareancontent is minimal and heavily adapted andyet it fits with the puzzle format in whichShakespeare tends to be found in videogamese Chronicles of Shakespeare Romeo amp

Juliet ande Chronicles of Shakespeare A Midsummer Nightrsquos Dream are lusciously-illustrated puzzle games for the PC In themplayers act as one of the characters from theplays gathering items and clues through aShakespearean environment

Among the literally thousands of appsrelated to Shakespeare that can be found forthe iPad or Android tablet are

e Shakespearean Insult Creator which generates invectives drawn from a wholly Shakespearean vocabulary So nexttime you want to call someone a jerk trysomething more like ldquoou fusty follyfallenfustilarianrdquo

e Shakespeare Translator whichtranslates ldquonormal English words and phrasesinto the words of Shakespeare himselfrdquo

e Shakespeare Fortune Cookie which provides short quotes from the plays

and a small trivia game Shakespeare or Die a game that

scrambles the words of famous quotationsfrom the plays and asks you to identify theplay and character who spoke the line If youmake a mistake however beware the witchesese apps are either explicitly games or

they are coming out of a game-like impulse tomake Shakespeare more accessible to everyone with an internet connection

Brave New WorldsIn a world where Shakespeare is an industrycounted in the millions of dollars per yearit is so easy to forget that Shakespearersquos playsare just that ndash playsere is a sense of joyand fun and happiness embedded in theexperience of watching them Games are oneof the ways that people over the centuries

have tried to recapture that elusive sense ofplayfulness within Shakespeare So it makesperfect sense that now with the advent ofdigital technologies Shakespeare is movinginto the digital world with a vengeance

From big studio games likee ElderScrolls to small apps that can be downloadedfor free from talking bears to immersiveperformance experiences Shakespeare iseverywhere in video games Rather than beingan undiscovered country into which the Bard

is only just beginning to emerge games havein fact engaged with Shakespeare and his works for hundreds of years And they willprobably continue to do so for hundreds ofyears to come

rsquoSpeare is a scrollingarcade-stylegame with addedShakespeare trivia

Hamlet is aShakespeare-themed puzzle fromBig Fish Games

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Meet thy makers

Helen Mears fell into bardolatryduring her teenage years and has

never recovered She is a volunteersteward at Shakespearersquos Globe

which ensures a regular diet of theBard She teaches English Film andMedia at Suffolk New College and isa specialist in teaching Shakespeareusing active methods Her favouriteShakespearean actor is Jamie Parker

and her favourite plays are the SecondHistory Tetralogy She hopes to

finish her Masters in the AdvancedTeaching of Shakespeare very soonFind her on Twitter hipster_hels

Paul F Cockburn is an Edinburgh-based freelance magazine journalist who specialises in writing about

arts and culture equality issues andpopular science Hersquos sufficiently

grey-haired for his English Literaturetraining to have sort of overlapped

with The BBC Television Shakespeareproject saving at least some of the

plays from death by academiaFind him on Twitter paulfcockburn

Jen Richardson first fell in love withShakespeare as a 15-year-old schoolgirl

ldquoHe got under my skin and hersquos still theretodayrdquo After training with a Manchester-based drama tutor she went on to pursuean acting career Drama remains a greatinterest but her focus is now on sharing

her passion for Shakespeare throughher writing In her spare time Jen is

generally down in Stratford-upon-Avonsitting on her favourite bench behind

Holy Trinity ChurchFind her on Twitter The_JenJen

Andrew Bretz is a sessional instructorof English Literature and Drama

specialising in early modern dramaHe has taught at Wilfrid LaurierUniversity the University of Guelph

Brock University and McMasterUniversity For the past two years he

has taught a special summer intensiveat Ontariorsquos Stratford Festival His PhDdissertation was on the representationof sexual violence on the early modern

stage Find him on TwitterAndrewBretz001

Just some of the contributors to this issue of Shakespeare Magazine

Rosalind Lyons is a painter whohas exhibited widely in both mixedand solo shows with work in UK

and international private collections A life-long love of Shakespeare isreflected in many of her paintings

and a particular recent focus isShakespearersquos Globe theatre where shespent a period as artist-in-residenceShe is currently studying for a PhD

in Painting and ShakespeareanTheatre at Anglia Ruskin University

in CambridgeFind her on Twitter roslyons

52 SHAKESPEARE magazine

Contributors

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Page 35: Shakespeare Magazine 08

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Aidan OrsquoReilly

SHAKESPEARE magazine 35

You are legally blind having been

diagnosed with retinoblastoma as an

infant How did this impact on your

acting aspirations and early career

ldquoMy parents did a good job raising me Inever grew up thinking of it as a handicap orthinking it could hold me back from what I wanted to do I couldnrsquot play sports at all soI think my parents were grateful that I hadsomething that I was passionate about from avery young age

ldquoI went to a public elementary school with a program designed for the blind so itfelt very natural for me to be the way that I was And acting has always been part of thatrdquo

You went to RADA in London Was

there a reason why you wanted to

train in England and not in the US

ldquoItrsquos always been an ambition of mine to

travel as far and wide as possible Also myhero growing up was Peter OrsquoToole ndash Iread his autobiography in high school andlearned he had gone to RADA and decided I wanted to go there too So I auditioned therenot knowing that RADA is arguably thebest drama school in the English-speaking world Consequently I was quite relaxed atthe audition which is probably why I gotin My ignorance can sometimes serve me well Going to RADA was a life-changing

Aidan OrsquoReilly is an actor with an

inspiring story Legally blind since he

was six months old he forged a passionfor drama at an early age Aidan went

on to gain a BA with honours from

Londonrsquos Royal Academy of Dramatic

Art before touring for three years with

the American Shakespeare Center

In 2012 Aidan was diagnosed with

sarcoma a rare cancer He bounced

back in 2014 after intensive treatment

and is now cancer-free We spoke to

Aidan as he prepared to play the title

role in Richard III for Californiarsquos Marin

Shakespeare Company We asked himto share his story and to give us his

take on one of Shakespearersquos most

fascinating characters

Interview by Jen Richardson

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Aidan OrsquoReilly

36 SHAKESPEARE magazine

experience I was lucky enough to havecontact with brilliant professors and Irsquom stillin awe of the students I went to school withI wouldnrsquot trade that experience for anythingrdquo After graduating from RADA you

went on the road with the American

Shakespeare Center Tell us a bit

about that

ldquoThat was one of the happiest times of mylife In many ways I got spoiled I was a working actor 11 months out of the yeartouring nationally seeing parts of the USI had never been to before doing plays Iloved and working with directors who werevehemently faithful and respectful to the text When I wasnrsquot on the road I was in residenceat the Blackfriars Playhouse in StauntonVirginia with many extraordinary actorsI was very lucky to be thererdquo

Three years ago you were diagnosed

with sarcoma How did you

overcome this enormous challenge

and return to the stage in 2014

ldquoThe only reason Irsquom still alive is because ofmy mother Lily and my wife Jocelynn AlsoI was fortunate that we caught it before it hadspread and it was on my leg and away fromany major organs

ldquoI am very grateful for my team of doctorsat UCSF who did an incredible job in mytreatment and follow-up care Irsquom glad to beback to workrdquo Yoursquore now due to play Richard III

with Marin Shakespeare Company

Howrsquos it going so far

ldquoAt this point Irsquom in the paperwork stage

of things A lot of reading the HenryVI s biographies of Richard as well asperformance history of the play itself Irsquomdoing a fair amount of limping around myapartment as well I canrsquot wait to get intorehearsals next weekrdquo Tell us about Marin Shakespeare

Company and what appealed to you

about working with them

ldquoRobert and Lesley [Currier MSCrsquos Artistic

Director and Managing Director] arefascinating people Their intelligence andhumour is contagious Without questionthere is a lot to be learned from themrdquo Richard IIIrsquos remains were discovered

in 2012 and reburied this year Is all

the new information about Richard

influencing your portrayal

ldquoYes and no My job isnrsquot to play the historicalRichard but the Richard that Shakespeare has

Aidan believesthat Richard IIIrsquosobsession withcontrol is whatcauses his downfall

ldquoPeter OrsquoToole wasmy hero He went to

RADA so I wanted to go there toordquo

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Crowning gloryAidan with MarinShakespearersquosRobert Currier

created Itrsquos helpful to know the facts of thesituation in order to gain insight into whathas been changed in Shakespearersquos versionof events

ldquoI met with a friend of mine who is a

retired surgeon who walked me through themedical information that has come to lighton Richardrsquos body and I will certainly usethat to inform my physical choicesrdquo Unlike many actors yoursquore the right

age to play the historical Richard III

Do you feel Richardrsquos relative youth

has been overlooked

ldquoI do Richard is a young man who believeshe is hardened by the experiences he andhis family endured during the War of theRoses and believes himself to be beyondhuman emotions and the lsquorestrictionsrsquo of aconscience He isnrsquot He pays the bill for thehorrible things he does That lack of self-knowledge is not exclusive to youth but I feelit makes him more sympathetic and relatableto an audiencerdquo Some people think Richard III shows

Shakespeare delivering a highly

effective piece of Tudor propaganda

Where do you stand on thatldquoI think Shakespeare has a soft spot foroutsiders and underdogs Although his playssometimes work within the confines of thebiases of Elizabethan society he canrsquot help butmake his lsquovillainsrsquo fascinating human beings

For as horrible as Richard is itrsquos amazing tosee how audiences relate and respond to himrdquo Which other important themes do

you feel Shakespeare deals with in

the playldquoThe history plays are full of extraordinarypeople who waste their lives and intelligence who sacrifice their humanity in pursuit of thecrown Itrsquos still happening today What is theattraction of power Richard never pauses tothink of why he wants the crown or if hersquodbe any good as king Turns out hersquos not butitrsquos this bizarre obsession with control thatpropels him to kill everyone off thatrsquos in his way Itrsquos also fascinating that the one characterthat is consistently kind to Richard is hisfather York

ldquoI think an argument can be made thatRichard in his warped way is trying to liveup to the image he has of his father Ofcourse York is dead and gone by the timeRichard III begins but you can glean a lotabout Richardrsquos inner workings in the way hespeaks about his father Of course itrsquos foolishto try to answer questions that Shakespearedoesnrsquot and Irsquom not trying to say this solvesa mystery but I think itrsquos interesting Itrsquos only

an element itrsquos not the answerrdquo Richard III is listed as a historical

play in the First Folio but in the

quarto edition it is termed a tragedy

Which category would you put the

play in and why

ldquoI think of the history plays from Richard II to Richard III as one vast play an epic thatencompasses all the categories I think if youlook at Richardrsquos progression through those

plays you see a great mind warped by the War of the Roses and that certainly adds tothe tragic element I think of Richard III asthe final chapter of a great epicrdquo

Aidan OrsquoReilly stars in Marin ShakespeareCompanyrsquos Richard III from 4-27 September

Aidan OrsquoReilly

SHAKESPEARE magazine 37

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Scotland Shakes

SHAKESPEARE magazine 39

Bonnie Prince

Brian Fergusonas Hamlet in theCitizens Theatre

production Photoby Tim Morozzo

Billy William Shakespeare is undoubtedly Englandrsquos

Bard But how is he viewed north of the border

Our Caledonian correspondent surveys the state

of Shakespeare in Scotland and meets esteemed

outdoor theatre company Bard in the Botanics

Words Paul F Cockburn

T owards the end of May thisyear a BBC Scotland afternoon

news bulletin surprisinglyturned its attention to aforthcoming production of

ldquoone of William Shakespearersquos best lovedplaysrdquo ndash A Midsummer Nightrsquos DreamHowever this particular production wasnrsquotconsidered newsworthy because it came froman amateur group based in Dumfries andGalloway Not even that the CrossmichaelDrama Club were one of just seven amateurScottish groups taking part in the Royal

Shakespeare Companyrsquos Open Stages project which aims to help amateur companies

extend their repertoiresNo the lsquohookrsquo was how this newproduction was Shakespeare ldquobut no asyou micht ken itrdquo Because it had beenreimagined in Scots as A MidsimmerNichtrsquos Dreme

As it happens writer John Burns saysthat his principle reason for translating AMidsimmer Nichtrsquos Dreme was simply theintuition that it being in Scots would workto the benefit of the production ldquoItrsquos not

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Scotland Shakes

40 SHAKESPEARE magazine

so much that 16th century English canrsquot docertain things more that using Scots brings itcloser to a Scottish audience and to audiences who might think Shakespeare too fancyrdquo hesays ldquoI feel too that Scots can catch the sheerphysical power of Shakespearersquos language He writes lines you really feel physically when

you say them out loud My intention was touse Scots to produce a text that was actableand which would be accessible and enjoyablefor the audience and the Scots was a majorpart of thatrdquo

Arguably translating Shakespeare intoScots ndash viewed by many as a distinct languagefrom English ndash is just one way of finding thecontinued relevancies of Shakespearersquos writing with the here and now Certainly John Burns was keen to see if Scots ldquocould match the way

Shakespeare switches tonehellip from broad attimes bawdy humour to moments that aremore serious or even sinisterrdquo

Yet there is a wider perspective whether wersquore discussing translation into Scots orsaying Shakespearersquos words with a Scottishaccent Willy Maley and Andrew Murphyin their introduction to Shakespeare andScotland (published by Manchester UniversityPress in 2004) go as far as describing thetranslation of Shakespearersquos Macbeth into

Scots as ldquoa patriotic actrdquo not least becauseof ldquothe political commitment implicit intranslating from English to Scots reversing

the dominant dubbing practice infi

lmsrdquoGlasgow-based novelist and playwright Alan Bissett ndash who actively campaigned fora Yes vote during last yearrsquos IndependenceReferendum ndash has since written about howsince the 1970s Scottish theatre had ldquoadeep engagement with the shifting beastof Scottish politicsrdquo Although Bissett wasfocusing primarily on original works byScottish playwrights and directors itrsquos worthpointing out that Shakespeare ndash despite therebeing absolutely no evidence to prove he evertravelled north of Carlisle ndash has played hisown part in this

As Maley and Murphy point outldquoScotlandhellip never had precisely the samerelationship with the Bard as England hasbut has experienced a fraught process ofappropriation incorporation and resistancerdquoIn part this is because Shakespeare ndash in hislatter career ndash was among the first lsquoBritishrsquo writers Many of his later plays ndash Cymbeline King Lear even Hamlet ndash were produced

A tartan-cladAntipholus andDromio in Bard inthe Botanicsrsquo TheComedy of Errors

Brian FergusonrsquosHamlet CitizensTheatre productionPhoto by TimMorozzo

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under the patronage of Scotlandrsquos King JamesVI (aka James I of England) Each in theirown way can be said to touch on ldquothe matterof Britainrdquo the complex relationship between

the constituent elements of Jamesrsquos newlsquounitedrsquo kingdom which the Stuart monarch was determined to see joined into oneat never quite happened of course

Even after the 1707 Act of UnionScotland retained its own legal educationaland religious systems along with anaccompanying sense of Scottish identity ndash which survived even the height of the Britishempire Yet from the 1970s on there havebeen notable changes in how Shakespeareis treated by Scotlandrsquos producing theatrecompanies Several years ago GlasgowrsquosCitizenseatre delivered a powerful Romeoand Juliet in part because of their decision toset the action in a present-day sectarian Westof Scotland ndash with accents to match

ldquoEnglish-accented Shakespeare carriesa specific resonance in Scotland one thatdirectors usually choose to avoidrdquo pointsout Mark Fisher a freelance journalist criticand author of the forthcoming book How toWrite Abouteatre

ldquoIrsquom not sure exactly when attitudesstarted to change but Irsquod say the argumentin favour of Scottish-accented productionshad been pretty much won by the 1990sBy that time companies such as Raindogand directors such as Hamish Glen hadbeen making a point of casting very Scottishproductions of Shakespearerdquo

One example of how things hadprogressed even by 1992 was the late KennyIrelandrsquos production of A Midsummer

Nightrsquos Dream his first as Artistic Directorat Edinburghrsquos Royal Lyceum ldquoHe castthe mechanicals with Scottish accents andeveryone else with English accentsrdquo MarkFisher explains ldquois I said in my review wasa fundamental error ndash or some such phrasee message it sent out was that people withScottish accents were foolish figures of fun whereas people with English accents wereserious figures of respect

ldquoIreland reacted furiously to my review

and made the case that he had based thecasting of the mechanicals around (the actor) Andy Gray who has a Scottish accent Inother words the meaning I inferred hadnot been deliberate I think itrsquos true to sayhowever that Ireland never cast a Shakespearelike that againrdquo

Gordon Barr is Artistic Director of

Glasgow-based Bard in the BotanicsScotlandrsquos only professional Shakespearecompany (see following pages)

ldquoWersquove never gone out of our way tomake Scottish versions of these texts norhave we gone out of our way to have classicaltraditional voicesrdquo he says ldquoMost of our coreactors have made their careers up here so wethink of them as Scottish actors

ldquoat is important to us to not overlylook outwards for the acting company As

much as possible we work with people who are based in Scotland Wersquore regularlyproducing Shakespeare here and we want tobe a part of the training to ensure that there isa range of strong classical actors hererdquo

Citizens Theatrewwwcitzcouk

Owen Whitehawas the Fool andDavid Hayman asLear in CitizensTheatrersquos King Lear Photo by TimMorozzo

Scotland Shakes

SHAKESPEARE magazine 41

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Bard in theBotanicsrsquo As You Like

It takes Rosalind andOrlando into theopen air

ldquoTouring is something that we have wanted to do foryears but was somethingthat we could not afford

to do without fundingrdquo says Gordon Barr Artistic Director of Scotlandrsquos only professionaloutdoor Shakespeare festival Bard in theBotanics If therersquos any irony attached tothe companyrsquos first major tour of Scotland which took place in early 2015 itrsquos that theperformances of their acclaimed Romeo and Juliet ndash featuring a cast of five ndash were playedexclusively indoors

ldquoNobody is touring classical theatre in

Scotland at the minute so itrsquos importantto usrdquo Barr adds ldquoOur work is so muchabout accessibility One of the joys of beingoutdoors is that people come to see the work who wouldnrsquot buy a ticket for a theatre Ifyou can bring a picnic sit out on the grass while watching the show it feels easier moreaccessible But people canrsquot come from Thursoto Glasgow for a night just to see a productionof Shakespeare They should be able to see itin Thurso So that is kind of where the urge totour came fromrdquo

Bard in the Botanics has presented outdoorShakespeare within the grounds of GlasgowrsquosBotanic Gardens since 2003 This yearrsquoslsquoUnlikely Wondersrsquo season presented newproductions of Loversquos Labourrsquos Lost The Merchant of Venice Richard II and A Midsummer Nightrsquos Dream in lsquoreprsquo between24 June and 1 August

The companyrsquos founder Scott PalmerBarr explains had done a lot of his training atthe Oregon Shakespeare Festival one of the

biggest in North America ldquoWith the kindof drive and enthusiasm that only Americanshave he managed to convince the entire cityof Glasgow that outdoor Shakespeare would work and that the weather wasnrsquot going to be

a problemrdquoTwo years later Palmer moved on and Barr

ndash originally involved as a director ndash succeededhim as Artistic Director ldquoIf anyone then hadsaid that I would end up spending 12 yearsrunning an outdoor Shakespeare festival I wouldnrsquot have believed themrdquo he says in hisoffice hidden behind some of the Botanicsrsquogardening sheds ldquoI very quickly fell in love with it once I started working here Despiteall the trials and tribulations that outdoortheatre in Scotland brings with it therersquos just

something magical and special about it Itrsquos a very close-knit company and thatrsquos sort of keptus all here as long as we have beenrdquo

While the annual summer season ofShakespeare plays in the Botanics will remainat the centre of what the company does ndashldquoOtherwise Bard in the Botanics becomesa rather strange namerdquo ndash Barr is very much

Outof theGarden

This year has seen Glasgowrsquos Bard in the Botanicsdo something completely unexpected They wentout on a tour of ndash whisper it ndash indoor venueshellip

Scotland Shakes

42 SHAKESPEARE magazine

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Scotland Shakes

SHAKESPEARE magazine 43

focused on building on the touring side ldquoBecause it was our first ever tour we

did end up taking Romeo and Juliet to theestablished Scottish touring circuitrdquo he addsldquoIt takes a while to build up relationships with the smaller venues thatrsquos going to bean ongoing process for us Even so we weretaking Romeo and Juliet to places like Mulland Stranraer ndash communities and venues thathavenrsquot had a lot of classical theatre comingthrough themrdquo

The choice of play was deliberate too ldquoIt was a production that was ready to go whichhad received five star reviews and sold out itsextended run in the Botanics in 2012 So weknew that the work was good but therersquos nodoubt that for a first tour we wanted to makeit easier for the venues to sell it Most venuesknow they can find an audience for Romeo and Juliet rdquo

In time he hopes that audiences aroundthe rest of Scotland will come to trust the Bardin the Botanics name sufficiently to take on theless familiar plays

ldquoYou just donrsquot know how quickly acommunity is going to turn out for Henry IV yetrdquo he says ldquoHopefully three or four toursdown the line theyrsquore going to turn out forBard in the Botanics ndash and if it happens to be

Henry IV well thatrsquos greatrdquoGiven their reimagining of A MidsummerNightrsquos Dream as a 1920s burlesque musicalis there a particular Bard in the Botanicsapproach to Shakespeare

ldquoOur kind of unofficial motto is lsquoBe BoldBe Braversquordquo Barr says ldquoIf wersquore continuingto stage these plays around 400 years afterShakespearersquos death I think therersquos an urgencyto ask lsquoWhyrsquo It is important to questionlsquoWhat is the story that we want to tellrsquo I wantto see how these plays intersect with historyand todayrsquos society not to present museumpieces

ldquoItrsquos always with an eye to try to releasesomething thatrsquos within the textrdquo Barrinsists ldquoWersquore not remotely interested ininnovation for innovationrsquos sake The playsare masterpieces thatrsquos essentially why wersquorestill doing them 400 years later But to revealsomething thatrsquos unexpected or new thatrsquosimportant to usrdquo

Bard in the Botanics

wwwbardinthebotanicscouk

Rosalind and Audreyin the forest Bardin the Botanicsrsquo As You Like It

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Shakespeare at the Tobacco Factory stf 2016 Seasonco-production with Tobacco Factory Theatres

HAMLETBy William Shakespeare

Directed by Andrew Hilton

Main run Thu 11 February ndash Sat 26 March 2016

In repertoire with Allrsquos Well That Ends WellMon 25 ndash Wed 27 April Sat 30 April 2016

The most famous play in world drama Hamlet

turns a new face to every decade So many

elements - political madness sex murder ndash all

brought together in a drama that is both a thriller

and the profoundest meditation on our human

condition

ldquoThrilling workrdquo The Guardian on Romeo amp Juliet

ldquoBullseyerdquo WhatsOnStage on Romeo amp Juliet

Shakespeare at the Tobacco Factory Friends Priority Booking opens Wed 23 September 10am

wwwstf-theatreorguk

Tobacco Factory Theatres Members Priority Booking opens Wed 16 September 10am

wwwtobaccofactorytheatrescom

Public Booking opens Wed 30 September 10am

Tobacco Factory Box Office 0117 902 0344

ALLrsquoS WELL THAT ENDS WELLBy William Shakespeare

Directed by Andrew Hilton

Main run Thu 31 March ndash Sat 23 April 2016

In repertoire with Hamlet

Thu 28 ndash Fri 29 April Sat 30 April

A young woman using skills bequeathed herby her father saves the French Kingrsquos life and

is rewarded with the right to choose her own

husband But what if the chosen one wonrsquot play

the game How can she get him into bed How

can she make him love her

ldquo There is something approaching real

magic hererdquo The Arts Desk on The School for Scandal

P h o t o s M

a r k D o u e t

Dorothea MyerBennett in Richard III

Benjamin Whitrowand Julia Hills in The

School For Scandal

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Having conquered

Hollywood and vanquished

the global entertainment

industry video games now

on our culture So where

does the Bard stand in all of

this We sent a Shakespeare

scholar to investigatehellip

Words Andrew Bretz

Shakespeare video games

46 SHAKESPEARE magazine

T eGamersquos A oot Silent Hill is one

big-name gamewhich includesShakespearereferences

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Shakespeare video games

SHAKESPEARE magazine 47

German cardboard Macbeth datingfrom the early1800s

Hamlet reimaginedRyan Northrsquos To Be

Or Not To Be

W

hen you walk intothe wood panelled Victorian Gothicismof the Gail Kern Paster

Reading Room at theFolger Shakespeare Library in WashingtonDC video games are probably the lastthing on your mind Buried deep withinthe archives however are a set of fragilecardboard figures printed in Germany in theearly 1800s representing each of the maincharacters of Macbeth

Nineteenth century German children would play with these figures on smallcardboard stages no bigger than a dollhouseey could replicate the story as it was toldin Shakespeare or use their imagination tochange the ending letting Lady Macbethsurvive and bringing Duncan back from thedead if they so chosee limits of the game were the limits of their imagination

Today the lsquogamificationrsquo of Shakespeareis a big business from Ryan Northrsquos choose-your-own-adventure edition of Hamlet To Be Or Not To Be to IDW Gamesrsquosupcoming Kill Shakespeare board gamebased on the comic of the same name

Gamifying Shakespeare is filtering intoschools libraries and the theatrical worldas well with the University of California atDavis the Stratford Festival in Ontario theGlobeeatre in London and the LondonMetropolitan Archives all experimenting with video game elements in exhibits productionsand research

Why video games In a sense this is thelogical next step in the media development ofShakespeare Hersquos everywhere in other media

books movies merchandise But videogamese answer for that depends on whoyou ask

StorytellingOccasionally individuals or publishinghouses develop video games that try to tellthe story of say Hamlet yet this is relativelyrare One example would be Elsinore a time-looping narrative adventure game set in the world of the play Players play the game as

Ophelia who wakes up knowing that in fourdays the entire court will be dead and shemust do something to stop ite problemis that she is stuck in a time loop reliving thesame four days over and over againat said Shakespearersquos presence in the

video game industry tends to be focused oncitation rather than adaptation of the playsat is video games for Xbox Playstationand other popular gaming systems often

just cite Shakespearersquos plays as a part of acommon cultural heritageese games donrsquotrestage say Hamlet but they quote the playIn these cases Shakespeare is used to establisha point of identification for the audience His writing tells the audience something aboutthe character or the situation

Given that audiences are supposedto be able to identify the quotations asShakespearean it is unsurprising that Hamlet is the most popular text for game designers to

cite Ine Elder Scrolls Online for instancea merchant NPC (non-player character)quotes Polonius when players interact sayingldquoNeither a borrower nor a lender berdquoe words establish the NPCrsquos role as a merchant while fitting the medieval world of thegame In the game LA Noire upon pickingup a fake shrunken head at a crime scene adetective leaps into high melodrama withldquoAlas poor Yorick I knew him Horatiordquoequotation and the clever voice acting establish

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Shakespeare video games

48 SHAKESPEARE magazine

the characterrsquos strait-laced yet macabre senseof humour

Sometimes citing Shakespeare is a partof a critique of a larger theme In the game Mass E ff ect the Elcor are a race of elephantinealiens who preface all statements with adescription of the emotion they are feelingand who speak in a slow monotonous drone As players interact with the expansive worldthey can discover a number of advertisementsfor an all-Elcor Hamlet e idea of theElcor actor ndash the ultimate in a flat woodenperformer ndash having to preface ldquoTo be or not

to berdquo with ldquomorose ruminationrdquo goes beyondthe simple humour of a bad Shakespeareperformance It subtly asks what it is aboutacting (and especially voice acting) that isvaluable

Shakespeare can appear in video gamesnot merely as a marker or contextualisationtool but as a part of a puzzle For example inthe game Silent Hill 3 players must arrange aset of Shakespeare anthologies on a bookshelfin an abandoned shopping mall in order to

proceed in the game At the hardest levelthe puzzle clue takes the form of a poemthat references all the major tragedies Romeoand Juliet King Lear Macbeth Othello andof course Hamlet e bloody nature of thetragedies fits with the bloody nature of theSilent Hill series of games which fall into thesurvival horror genre

Popular video games have also servedas the inspiration for games that engage with Shakespeare in a more direct way For

example Daniel Fischlin at the Universityof Guelph in Ontario Canada led a teamthat created a Flash game called rsquoSpeare Itrsquos

a scrolling arcade-style game suggesting thersquo80s hit Galaga which sees players identifyingand navigating through a series of enemies who turn into words upon being destroyede player progresses through the levelsby collecting the correct words to createShakespearean quotes learning Shakespeareantrivia along the way

ImmersionOne of the most exciting aspects of videogames is the ability to immerse the player inthe world of the game in a way that othermedia simply cannot do Being able to walkaround Prosperorsquos cell Julietrsquos balcony orto stand before the ghost of Hamletrsquos fatheras he cries out ldquoList list O listrdquo ndash theseexperiences are made possible through videogame technology

Students of Scenic Arts at the Universityof Hildesheim in Germany created Projekt ARIEL or SturmMOD in 2008 using a lsquomodrsquo(or modification) to the engine that runs

the game Far Cry 1 e performance artproject allowed users to experience Prosperorsquosisland interacting with certain parts andexploring others Players could walk aroundan imaginative rendition of Prosperorsquos cell and witness or interact with elements of the playincluding diff erent characters like CalibanProspero and Miranda

Four days to savethe Danish court

Elsinore

Another Hamlet reference this timein LA Noire

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Shakespeare video games

SHAKESPEARE magazine 49

Gina Bloom at the University of Californiaat Davis is presently spearheading a projectthat will be demonstrated in the lobby of theStratford Festival theatre in Ontario Canadathis summere project Play the Knave AShakespeare Performance Videogame lets usersdesign a virtual performance space and thenperform a scene from a Shakespeare playinhabiting this constructed space with anavatar As a Davis insider explains ldquoWe use akinect motion capture camera to capture theuserrsquos skeletal data so that players use theirentire bodies to control their avatarrsquos gesturesonscreen all the while reciting the lines from

Shakespearersquos scenerdquo is literally immersesthe players in the scene

Shakespearersquos Globe eatre in Londontook another tactic regarding immersionin the production of the game HemmingsrsquoPlay Company Hosted on the Playgroundportion of the Globersquos website and thusaimed at an audience of children the gamehas players taking on the role of Hemmingsan Elizabethan bear who leads a troupe oftheatrical animals such as Kit the Cat Dekker

the Dog and Slye the Foxe turn-based game leads players through

the vagaries of Elizabethan theatre practicefrom patronage to lost props and the plagueBy the end of the game players must earnenough money to rebuild the Globe after itburns down during a performance of HenryVIII

Also from Shakespearersquos Globe are twoinnovative video experiences created forchildren aged five to 11 e first Exploring

Shakespeare features two boys on a tour ofthe Globe theatre who sneak off to explorebackstage e video illustrates four plays

using short animations that are keyedto things the boys find backstage etechnology combines live action film andanimation to create an interactive touchablegame Filled with mini-games quizzes andinteresting facts about Shakespeare the gameallows players to click through the narrativeor to stop and learn more as they go along

e second video called Staging It usesthe same technology as the first film but thistime is for the 11-16 age group In this gamee Globe has filmed two actors performingfamous duologues from A MidsummerNightrsquos Dream and Macbeth on the Globestage Rather than shoot it once the actorshave performed their lines in diff erent ways(happy flirtatious defensive and so on)creating several diff erent clips per linePlayers can watch each of the clips and addtheir choice to a dynamic storyboard tobuild up their final scene Impressively theplatform allows for up to 1000000 diff erentcombinations of clips

Apps and Mini-GamesItrsquos when you start to look outside of therealm of popular video game platformslike Xbox or Playstation that Shakespeare

Silent Hill 3 Brush upyour Shakespeare ifyou want to survive

Hemmingsrsquo PlayCompany fromShakespearersquosGlobe

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Shakespeare video games

50 SHAKESPEARE magazine

really starts to pop up wherever you looke ubiquity of Shakespeare is especiallynoticeable when you start to look at apps andmini-games designed for phones and tablets

In 2012 Big Fish Games released aniPhone and iPad game called Hamlet that featured all the main characters ofShakespearersquos play but transposed them intoa save-the-princess narrative puzzle game A time traveller lands in Denmark andaccidentally kills Hamlet and so players mustcomplete his journey for him saving Opheliaand killing Claudiuse Shakespeareancontent is minimal and heavily adapted andyet it fits with the puzzle format in whichShakespeare tends to be found in videogamese Chronicles of Shakespeare Romeo amp

Juliet ande Chronicles of Shakespeare A Midsummer Nightrsquos Dream are lusciously-illustrated puzzle games for the PC In themplayers act as one of the characters from theplays gathering items and clues through aShakespearean environment

Among the literally thousands of appsrelated to Shakespeare that can be found forthe iPad or Android tablet are

e Shakespearean Insult Creator which generates invectives drawn from a wholly Shakespearean vocabulary So nexttime you want to call someone a jerk trysomething more like ldquoou fusty follyfallenfustilarianrdquo

e Shakespeare Translator whichtranslates ldquonormal English words and phrasesinto the words of Shakespeare himselfrdquo

e Shakespeare Fortune Cookie which provides short quotes from the plays

and a small trivia game Shakespeare or Die a game that

scrambles the words of famous quotationsfrom the plays and asks you to identify theplay and character who spoke the line If youmake a mistake however beware the witchesese apps are either explicitly games or

they are coming out of a game-like impulse tomake Shakespeare more accessible to everyone with an internet connection

Brave New WorldsIn a world where Shakespeare is an industrycounted in the millions of dollars per yearit is so easy to forget that Shakespearersquos playsare just that ndash playsere is a sense of joyand fun and happiness embedded in theexperience of watching them Games are oneof the ways that people over the centuries

have tried to recapture that elusive sense ofplayfulness within Shakespeare So it makesperfect sense that now with the advent ofdigital technologies Shakespeare is movinginto the digital world with a vengeance

From big studio games likee ElderScrolls to small apps that can be downloadedfor free from talking bears to immersiveperformance experiences Shakespeare iseverywhere in video games Rather than beingan undiscovered country into which the Bard

is only just beginning to emerge games havein fact engaged with Shakespeare and his works for hundreds of years And they willprobably continue to do so for hundreds ofyears to come

rsquoSpeare is a scrollingarcade-stylegame with addedShakespeare trivia

Hamlet is aShakespeare-themed puzzle fromBig Fish Games

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Meet thy makers

Helen Mears fell into bardolatryduring her teenage years and has

never recovered She is a volunteersteward at Shakespearersquos Globe

which ensures a regular diet of theBard She teaches English Film andMedia at Suffolk New College and isa specialist in teaching Shakespeareusing active methods Her favouriteShakespearean actor is Jamie Parker

and her favourite plays are the SecondHistory Tetralogy She hopes to

finish her Masters in the AdvancedTeaching of Shakespeare very soonFind her on Twitter hipster_hels

Paul F Cockburn is an Edinburgh-based freelance magazine journalist who specialises in writing about

arts and culture equality issues andpopular science Hersquos sufficiently

grey-haired for his English Literaturetraining to have sort of overlapped

with The BBC Television Shakespeareproject saving at least some of the

plays from death by academiaFind him on Twitter paulfcockburn

Jen Richardson first fell in love withShakespeare as a 15-year-old schoolgirl

ldquoHe got under my skin and hersquos still theretodayrdquo After training with a Manchester-based drama tutor she went on to pursuean acting career Drama remains a greatinterest but her focus is now on sharing

her passion for Shakespeare throughher writing In her spare time Jen is

generally down in Stratford-upon-Avonsitting on her favourite bench behind

Holy Trinity ChurchFind her on Twitter The_JenJen

Andrew Bretz is a sessional instructorof English Literature and Drama

specialising in early modern dramaHe has taught at Wilfrid LaurierUniversity the University of Guelph

Brock University and McMasterUniversity For the past two years he

has taught a special summer intensiveat Ontariorsquos Stratford Festival His PhDdissertation was on the representationof sexual violence on the early modern

stage Find him on TwitterAndrewBretz001

Just some of the contributors to this issue of Shakespeare Magazine

Rosalind Lyons is a painter whohas exhibited widely in both mixedand solo shows with work in UK

and international private collections A life-long love of Shakespeare isreflected in many of her paintings

and a particular recent focus isShakespearersquos Globe theatre where shespent a period as artist-in-residenceShe is currently studying for a PhD

in Painting and ShakespeareanTheatre at Anglia Ruskin University

in CambridgeFind her on Twitter roslyons

52 SHAKESPEARE magazine

Contributors

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Page 36: Shakespeare Magazine 08

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Aidan OrsquoReilly

36 SHAKESPEARE magazine

experience I was lucky enough to havecontact with brilliant professors and Irsquom stillin awe of the students I went to school withI wouldnrsquot trade that experience for anythingrdquo After graduating from RADA you

went on the road with the American

Shakespeare Center Tell us a bit

about that

ldquoThat was one of the happiest times of mylife In many ways I got spoiled I was a working actor 11 months out of the yeartouring nationally seeing parts of the USI had never been to before doing plays Iloved and working with directors who werevehemently faithful and respectful to the text When I wasnrsquot on the road I was in residenceat the Blackfriars Playhouse in StauntonVirginia with many extraordinary actorsI was very lucky to be thererdquo

Three years ago you were diagnosed

with sarcoma How did you

overcome this enormous challenge

and return to the stage in 2014

ldquoThe only reason Irsquom still alive is because ofmy mother Lily and my wife Jocelynn AlsoI was fortunate that we caught it before it hadspread and it was on my leg and away fromany major organs

ldquoI am very grateful for my team of doctorsat UCSF who did an incredible job in mytreatment and follow-up care Irsquom glad to beback to workrdquo Yoursquore now due to play Richard III

with Marin Shakespeare Company

Howrsquos it going so far

ldquoAt this point Irsquom in the paperwork stage

of things A lot of reading the HenryVI s biographies of Richard as well asperformance history of the play itself Irsquomdoing a fair amount of limping around myapartment as well I canrsquot wait to get intorehearsals next weekrdquo Tell us about Marin Shakespeare

Company and what appealed to you

about working with them

ldquoRobert and Lesley [Currier MSCrsquos Artistic

Director and Managing Director] arefascinating people Their intelligence andhumour is contagious Without questionthere is a lot to be learned from themrdquo Richard IIIrsquos remains were discovered

in 2012 and reburied this year Is all

the new information about Richard

influencing your portrayal

ldquoYes and no My job isnrsquot to play the historicalRichard but the Richard that Shakespeare has

Aidan believesthat Richard IIIrsquosobsession withcontrol is whatcauses his downfall

ldquoPeter OrsquoToole wasmy hero He went to

RADA so I wanted to go there toordquo

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Crowning gloryAidan with MarinShakespearersquosRobert Currier

created Itrsquos helpful to know the facts of thesituation in order to gain insight into whathas been changed in Shakespearersquos versionof events

ldquoI met with a friend of mine who is a

retired surgeon who walked me through themedical information that has come to lighton Richardrsquos body and I will certainly usethat to inform my physical choicesrdquo Unlike many actors yoursquore the right

age to play the historical Richard III

Do you feel Richardrsquos relative youth

has been overlooked

ldquoI do Richard is a young man who believeshe is hardened by the experiences he andhis family endured during the War of theRoses and believes himself to be beyondhuman emotions and the lsquorestrictionsrsquo of aconscience He isnrsquot He pays the bill for thehorrible things he does That lack of self-knowledge is not exclusive to youth but I feelit makes him more sympathetic and relatableto an audiencerdquo Some people think Richard III shows

Shakespeare delivering a highly

effective piece of Tudor propaganda

Where do you stand on thatldquoI think Shakespeare has a soft spot foroutsiders and underdogs Although his playssometimes work within the confines of thebiases of Elizabethan society he canrsquot help butmake his lsquovillainsrsquo fascinating human beings

For as horrible as Richard is itrsquos amazing tosee how audiences relate and respond to himrdquo Which other important themes do

you feel Shakespeare deals with in

the playldquoThe history plays are full of extraordinarypeople who waste their lives and intelligence who sacrifice their humanity in pursuit of thecrown Itrsquos still happening today What is theattraction of power Richard never pauses tothink of why he wants the crown or if hersquodbe any good as king Turns out hersquos not butitrsquos this bizarre obsession with control thatpropels him to kill everyone off thatrsquos in his way Itrsquos also fascinating that the one characterthat is consistently kind to Richard is hisfather York

ldquoI think an argument can be made thatRichard in his warped way is trying to liveup to the image he has of his father Ofcourse York is dead and gone by the timeRichard III begins but you can glean a lotabout Richardrsquos inner workings in the way hespeaks about his father Of course itrsquos foolishto try to answer questions that Shakespearedoesnrsquot and Irsquom not trying to say this solvesa mystery but I think itrsquos interesting Itrsquos only

an element itrsquos not the answerrdquo Richard III is listed as a historical

play in the First Folio but in the

quarto edition it is termed a tragedy

Which category would you put the

play in and why

ldquoI think of the history plays from Richard II to Richard III as one vast play an epic thatencompasses all the categories I think if youlook at Richardrsquos progression through those

plays you see a great mind warped by the War of the Roses and that certainly adds tothe tragic element I think of Richard III asthe final chapter of a great epicrdquo

Aidan OrsquoReilly stars in Marin ShakespeareCompanyrsquos Richard III from 4-27 September

Aidan OrsquoReilly

SHAKESPEARE magazine 37

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Scotland Shakes

SHAKESPEARE magazine 39

Bonnie Prince

Brian Fergusonas Hamlet in theCitizens Theatre

production Photoby Tim Morozzo

Billy William Shakespeare is undoubtedly Englandrsquos

Bard But how is he viewed north of the border

Our Caledonian correspondent surveys the state

of Shakespeare in Scotland and meets esteemed

outdoor theatre company Bard in the Botanics

Words Paul F Cockburn

T owards the end of May thisyear a BBC Scotland afternoon

news bulletin surprisinglyturned its attention to aforthcoming production of

ldquoone of William Shakespearersquos best lovedplaysrdquo ndash A Midsummer Nightrsquos DreamHowever this particular production wasnrsquotconsidered newsworthy because it came froman amateur group based in Dumfries andGalloway Not even that the CrossmichaelDrama Club were one of just seven amateurScottish groups taking part in the Royal

Shakespeare Companyrsquos Open Stages project which aims to help amateur companies

extend their repertoiresNo the lsquohookrsquo was how this newproduction was Shakespeare ldquobut no asyou micht ken itrdquo Because it had beenreimagined in Scots as A MidsimmerNichtrsquos Dreme

As it happens writer John Burns saysthat his principle reason for translating AMidsimmer Nichtrsquos Dreme was simply theintuition that it being in Scots would workto the benefit of the production ldquoItrsquos not

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Scotland Shakes

40 SHAKESPEARE magazine

so much that 16th century English canrsquot docertain things more that using Scots brings itcloser to a Scottish audience and to audiences who might think Shakespeare too fancyrdquo hesays ldquoI feel too that Scots can catch the sheerphysical power of Shakespearersquos language He writes lines you really feel physically when

you say them out loud My intention was touse Scots to produce a text that was actableand which would be accessible and enjoyablefor the audience and the Scots was a majorpart of thatrdquo

Arguably translating Shakespeare intoScots ndash viewed by many as a distinct languagefrom English ndash is just one way of finding thecontinued relevancies of Shakespearersquos writing with the here and now Certainly John Burns was keen to see if Scots ldquocould match the way

Shakespeare switches tonehellip from broad attimes bawdy humour to moments that aremore serious or even sinisterrdquo

Yet there is a wider perspective whether wersquore discussing translation into Scots orsaying Shakespearersquos words with a Scottishaccent Willy Maley and Andrew Murphyin their introduction to Shakespeare andScotland (published by Manchester UniversityPress in 2004) go as far as describing thetranslation of Shakespearersquos Macbeth into

Scots as ldquoa patriotic actrdquo not least becauseof ldquothe political commitment implicit intranslating from English to Scots reversing

the dominant dubbing practice infi

lmsrdquoGlasgow-based novelist and playwright Alan Bissett ndash who actively campaigned fora Yes vote during last yearrsquos IndependenceReferendum ndash has since written about howsince the 1970s Scottish theatre had ldquoadeep engagement with the shifting beastof Scottish politicsrdquo Although Bissett wasfocusing primarily on original works byScottish playwrights and directors itrsquos worthpointing out that Shakespeare ndash despite therebeing absolutely no evidence to prove he evertravelled north of Carlisle ndash has played hisown part in this

As Maley and Murphy point outldquoScotlandhellip never had precisely the samerelationship with the Bard as England hasbut has experienced a fraught process ofappropriation incorporation and resistancerdquoIn part this is because Shakespeare ndash in hislatter career ndash was among the first lsquoBritishrsquo writers Many of his later plays ndash Cymbeline King Lear even Hamlet ndash were produced

A tartan-cladAntipholus andDromio in Bard inthe Botanicsrsquo TheComedy of Errors

Brian FergusonrsquosHamlet CitizensTheatre productionPhoto by TimMorozzo

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under the patronage of Scotlandrsquos King JamesVI (aka James I of England) Each in theirown way can be said to touch on ldquothe matterof Britainrdquo the complex relationship between

the constituent elements of Jamesrsquos newlsquounitedrsquo kingdom which the Stuart monarch was determined to see joined into oneat never quite happened of course

Even after the 1707 Act of UnionScotland retained its own legal educationaland religious systems along with anaccompanying sense of Scottish identity ndash which survived even the height of the Britishempire Yet from the 1970s on there havebeen notable changes in how Shakespeareis treated by Scotlandrsquos producing theatrecompanies Several years ago GlasgowrsquosCitizenseatre delivered a powerful Romeoand Juliet in part because of their decision toset the action in a present-day sectarian Westof Scotland ndash with accents to match

ldquoEnglish-accented Shakespeare carriesa specific resonance in Scotland one thatdirectors usually choose to avoidrdquo pointsout Mark Fisher a freelance journalist criticand author of the forthcoming book How toWrite Abouteatre

ldquoIrsquom not sure exactly when attitudesstarted to change but Irsquod say the argumentin favour of Scottish-accented productionshad been pretty much won by the 1990sBy that time companies such as Raindogand directors such as Hamish Glen hadbeen making a point of casting very Scottishproductions of Shakespearerdquo

One example of how things hadprogressed even by 1992 was the late KennyIrelandrsquos production of A Midsummer

Nightrsquos Dream his first as Artistic Directorat Edinburghrsquos Royal Lyceum ldquoHe castthe mechanicals with Scottish accents andeveryone else with English accentsrdquo MarkFisher explains ldquois I said in my review wasa fundamental error ndash or some such phrasee message it sent out was that people withScottish accents were foolish figures of fun whereas people with English accents wereserious figures of respect

ldquoIreland reacted furiously to my review

and made the case that he had based thecasting of the mechanicals around (the actor) Andy Gray who has a Scottish accent Inother words the meaning I inferred hadnot been deliberate I think itrsquos true to sayhowever that Ireland never cast a Shakespearelike that againrdquo

Gordon Barr is Artistic Director of

Glasgow-based Bard in the BotanicsScotlandrsquos only professional Shakespearecompany (see following pages)

ldquoWersquove never gone out of our way tomake Scottish versions of these texts norhave we gone out of our way to have classicaltraditional voicesrdquo he says ldquoMost of our coreactors have made their careers up here so wethink of them as Scottish actors

ldquoat is important to us to not overlylook outwards for the acting company As

much as possible we work with people who are based in Scotland Wersquore regularlyproducing Shakespeare here and we want tobe a part of the training to ensure that there isa range of strong classical actors hererdquo

Citizens Theatrewwwcitzcouk

Owen Whitehawas the Fool andDavid Hayman asLear in CitizensTheatrersquos King Lear Photo by TimMorozzo

Scotland Shakes

SHAKESPEARE magazine 41

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Bard in theBotanicsrsquo As You Like

It takes Rosalind andOrlando into theopen air

ldquoTouring is something that we have wanted to do foryears but was somethingthat we could not afford

to do without fundingrdquo says Gordon Barr Artistic Director of Scotlandrsquos only professionaloutdoor Shakespeare festival Bard in theBotanics If therersquos any irony attached tothe companyrsquos first major tour of Scotland which took place in early 2015 itrsquos that theperformances of their acclaimed Romeo and Juliet ndash featuring a cast of five ndash were playedexclusively indoors

ldquoNobody is touring classical theatre in

Scotland at the minute so itrsquos importantto usrdquo Barr adds ldquoOur work is so muchabout accessibility One of the joys of beingoutdoors is that people come to see the work who wouldnrsquot buy a ticket for a theatre Ifyou can bring a picnic sit out on the grass while watching the show it feels easier moreaccessible But people canrsquot come from Thursoto Glasgow for a night just to see a productionof Shakespeare They should be able to see itin Thurso So that is kind of where the urge totour came fromrdquo

Bard in the Botanics has presented outdoorShakespeare within the grounds of GlasgowrsquosBotanic Gardens since 2003 This yearrsquoslsquoUnlikely Wondersrsquo season presented newproductions of Loversquos Labourrsquos Lost The Merchant of Venice Richard II and A Midsummer Nightrsquos Dream in lsquoreprsquo between24 June and 1 August

The companyrsquos founder Scott PalmerBarr explains had done a lot of his training atthe Oregon Shakespeare Festival one of the

biggest in North America ldquoWith the kindof drive and enthusiasm that only Americanshave he managed to convince the entire cityof Glasgow that outdoor Shakespeare would work and that the weather wasnrsquot going to be

a problemrdquoTwo years later Palmer moved on and Barr

ndash originally involved as a director ndash succeededhim as Artistic Director ldquoIf anyone then hadsaid that I would end up spending 12 yearsrunning an outdoor Shakespeare festival I wouldnrsquot have believed themrdquo he says in hisoffice hidden behind some of the Botanicsrsquogardening sheds ldquoI very quickly fell in love with it once I started working here Despiteall the trials and tribulations that outdoortheatre in Scotland brings with it therersquos just

something magical and special about it Itrsquos a very close-knit company and thatrsquos sort of keptus all here as long as we have beenrdquo

While the annual summer season ofShakespeare plays in the Botanics will remainat the centre of what the company does ndashldquoOtherwise Bard in the Botanics becomesa rather strange namerdquo ndash Barr is very much

Outof theGarden

This year has seen Glasgowrsquos Bard in the Botanicsdo something completely unexpected They wentout on a tour of ndash whisper it ndash indoor venueshellip

Scotland Shakes

42 SHAKESPEARE magazine

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Scotland Shakes

SHAKESPEARE magazine 43

focused on building on the touring side ldquoBecause it was our first ever tour we

did end up taking Romeo and Juliet to theestablished Scottish touring circuitrdquo he addsldquoIt takes a while to build up relationships with the smaller venues thatrsquos going to bean ongoing process for us Even so we weretaking Romeo and Juliet to places like Mulland Stranraer ndash communities and venues thathavenrsquot had a lot of classical theatre comingthrough themrdquo

The choice of play was deliberate too ldquoIt was a production that was ready to go whichhad received five star reviews and sold out itsextended run in the Botanics in 2012 So weknew that the work was good but therersquos nodoubt that for a first tour we wanted to makeit easier for the venues to sell it Most venuesknow they can find an audience for Romeo and Juliet rdquo

In time he hopes that audiences aroundthe rest of Scotland will come to trust the Bardin the Botanics name sufficiently to take on theless familiar plays

ldquoYou just donrsquot know how quickly acommunity is going to turn out for Henry IV yetrdquo he says ldquoHopefully three or four toursdown the line theyrsquore going to turn out forBard in the Botanics ndash and if it happens to be

Henry IV well thatrsquos greatrdquoGiven their reimagining of A MidsummerNightrsquos Dream as a 1920s burlesque musicalis there a particular Bard in the Botanicsapproach to Shakespeare

ldquoOur kind of unofficial motto is lsquoBe BoldBe Braversquordquo Barr says ldquoIf wersquore continuingto stage these plays around 400 years afterShakespearersquos death I think therersquos an urgencyto ask lsquoWhyrsquo It is important to questionlsquoWhat is the story that we want to tellrsquo I wantto see how these plays intersect with historyand todayrsquos society not to present museumpieces

ldquoItrsquos always with an eye to try to releasesomething thatrsquos within the textrdquo Barrinsists ldquoWersquore not remotely interested ininnovation for innovationrsquos sake The playsare masterpieces thatrsquos essentially why wersquorestill doing them 400 years later But to revealsomething thatrsquos unexpected or new thatrsquosimportant to usrdquo

Bard in the Botanics

wwwbardinthebotanicscouk

Rosalind and Audreyin the forest Bardin the Botanicsrsquo As You Like It

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Shakespeare at the Tobacco Factory stf 2016 Seasonco-production with Tobacco Factory Theatres

HAMLETBy William Shakespeare

Directed by Andrew Hilton

Main run Thu 11 February ndash Sat 26 March 2016

In repertoire with Allrsquos Well That Ends WellMon 25 ndash Wed 27 April Sat 30 April 2016

The most famous play in world drama Hamlet

turns a new face to every decade So many

elements - political madness sex murder ndash all

brought together in a drama that is both a thriller

and the profoundest meditation on our human

condition

ldquoThrilling workrdquo The Guardian on Romeo amp Juliet

ldquoBullseyerdquo WhatsOnStage on Romeo amp Juliet

Shakespeare at the Tobacco Factory Friends Priority Booking opens Wed 23 September 10am

wwwstf-theatreorguk

Tobacco Factory Theatres Members Priority Booking opens Wed 16 September 10am

wwwtobaccofactorytheatrescom

Public Booking opens Wed 30 September 10am

Tobacco Factory Box Office 0117 902 0344

ALLrsquoS WELL THAT ENDS WELLBy William Shakespeare

Directed by Andrew Hilton

Main run Thu 31 March ndash Sat 23 April 2016

In repertoire with Hamlet

Thu 28 ndash Fri 29 April Sat 30 April

A young woman using skills bequeathed herby her father saves the French Kingrsquos life and

is rewarded with the right to choose her own

husband But what if the chosen one wonrsquot play

the game How can she get him into bed How

can she make him love her

ldquo There is something approaching real

magic hererdquo The Arts Desk on The School for Scandal

P h o t o s M

a r k D o u e t

Dorothea MyerBennett in Richard III

Benjamin Whitrowand Julia Hills in The

School For Scandal

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Having conquered

Hollywood and vanquished

the global entertainment

industry video games now

on our culture So where

does the Bard stand in all of

this We sent a Shakespeare

scholar to investigatehellip

Words Andrew Bretz

Shakespeare video games

46 SHAKESPEARE magazine

T eGamersquos A oot Silent Hill is one

big-name gamewhich includesShakespearereferences

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Shakespeare video games

SHAKESPEARE magazine 47

German cardboard Macbeth datingfrom the early1800s

Hamlet reimaginedRyan Northrsquos To Be

Or Not To Be

W

hen you walk intothe wood panelled Victorian Gothicismof the Gail Kern Paster

Reading Room at theFolger Shakespeare Library in WashingtonDC video games are probably the lastthing on your mind Buried deep withinthe archives however are a set of fragilecardboard figures printed in Germany in theearly 1800s representing each of the maincharacters of Macbeth

Nineteenth century German children would play with these figures on smallcardboard stages no bigger than a dollhouseey could replicate the story as it was toldin Shakespeare or use their imagination tochange the ending letting Lady Macbethsurvive and bringing Duncan back from thedead if they so chosee limits of the game were the limits of their imagination

Today the lsquogamificationrsquo of Shakespeareis a big business from Ryan Northrsquos choose-your-own-adventure edition of Hamlet To Be Or Not To Be to IDW Gamesrsquosupcoming Kill Shakespeare board gamebased on the comic of the same name

Gamifying Shakespeare is filtering intoschools libraries and the theatrical worldas well with the University of California atDavis the Stratford Festival in Ontario theGlobeeatre in London and the LondonMetropolitan Archives all experimenting with video game elements in exhibits productionsand research

Why video games In a sense this is thelogical next step in the media development ofShakespeare Hersquos everywhere in other media

books movies merchandise But videogamese answer for that depends on whoyou ask

StorytellingOccasionally individuals or publishinghouses develop video games that try to tellthe story of say Hamlet yet this is relativelyrare One example would be Elsinore a time-looping narrative adventure game set in the world of the play Players play the game as

Ophelia who wakes up knowing that in fourdays the entire court will be dead and shemust do something to stop ite problemis that she is stuck in a time loop reliving thesame four days over and over againat said Shakespearersquos presence in the

video game industry tends to be focused oncitation rather than adaptation of the playsat is video games for Xbox Playstationand other popular gaming systems often

just cite Shakespearersquos plays as a part of acommon cultural heritageese games donrsquotrestage say Hamlet but they quote the playIn these cases Shakespeare is used to establisha point of identification for the audience His writing tells the audience something aboutthe character or the situation

Given that audiences are supposedto be able to identify the quotations asShakespearean it is unsurprising that Hamlet is the most popular text for game designers to

cite Ine Elder Scrolls Online for instancea merchant NPC (non-player character)quotes Polonius when players interact sayingldquoNeither a borrower nor a lender berdquoe words establish the NPCrsquos role as a merchant while fitting the medieval world of thegame In the game LA Noire upon pickingup a fake shrunken head at a crime scene adetective leaps into high melodrama withldquoAlas poor Yorick I knew him Horatiordquoequotation and the clever voice acting establish

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Shakespeare video games

48 SHAKESPEARE magazine

the characterrsquos strait-laced yet macabre senseof humour

Sometimes citing Shakespeare is a partof a critique of a larger theme In the game Mass E ff ect the Elcor are a race of elephantinealiens who preface all statements with adescription of the emotion they are feelingand who speak in a slow monotonous drone As players interact with the expansive worldthey can discover a number of advertisementsfor an all-Elcor Hamlet e idea of theElcor actor ndash the ultimate in a flat woodenperformer ndash having to preface ldquoTo be or not

to berdquo with ldquomorose ruminationrdquo goes beyondthe simple humour of a bad Shakespeareperformance It subtly asks what it is aboutacting (and especially voice acting) that isvaluable

Shakespeare can appear in video gamesnot merely as a marker or contextualisationtool but as a part of a puzzle For example inthe game Silent Hill 3 players must arrange aset of Shakespeare anthologies on a bookshelfin an abandoned shopping mall in order to

proceed in the game At the hardest levelthe puzzle clue takes the form of a poemthat references all the major tragedies Romeoand Juliet King Lear Macbeth Othello andof course Hamlet e bloody nature of thetragedies fits with the bloody nature of theSilent Hill series of games which fall into thesurvival horror genre

Popular video games have also servedas the inspiration for games that engage with Shakespeare in a more direct way For

example Daniel Fischlin at the Universityof Guelph in Ontario Canada led a teamthat created a Flash game called rsquoSpeare Itrsquos

a scrolling arcade-style game suggesting thersquo80s hit Galaga which sees players identifyingand navigating through a series of enemies who turn into words upon being destroyede player progresses through the levelsby collecting the correct words to createShakespearean quotes learning Shakespeareantrivia along the way

ImmersionOne of the most exciting aspects of videogames is the ability to immerse the player inthe world of the game in a way that othermedia simply cannot do Being able to walkaround Prosperorsquos cell Julietrsquos balcony orto stand before the ghost of Hamletrsquos fatheras he cries out ldquoList list O listrdquo ndash theseexperiences are made possible through videogame technology

Students of Scenic Arts at the Universityof Hildesheim in Germany created Projekt ARIEL or SturmMOD in 2008 using a lsquomodrsquo(or modification) to the engine that runs

the game Far Cry 1 e performance artproject allowed users to experience Prosperorsquosisland interacting with certain parts andexploring others Players could walk aroundan imaginative rendition of Prosperorsquos cell and witness or interact with elements of the playincluding diff erent characters like CalibanProspero and Miranda

Four days to savethe Danish court

Elsinore

Another Hamlet reference this timein LA Noire

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Shakespeare video games

SHAKESPEARE magazine 49

Gina Bloom at the University of Californiaat Davis is presently spearheading a projectthat will be demonstrated in the lobby of theStratford Festival theatre in Ontario Canadathis summere project Play the Knave AShakespeare Performance Videogame lets usersdesign a virtual performance space and thenperform a scene from a Shakespeare playinhabiting this constructed space with anavatar As a Davis insider explains ldquoWe use akinect motion capture camera to capture theuserrsquos skeletal data so that players use theirentire bodies to control their avatarrsquos gesturesonscreen all the while reciting the lines from

Shakespearersquos scenerdquo is literally immersesthe players in the scene

Shakespearersquos Globe eatre in Londontook another tactic regarding immersionin the production of the game HemmingsrsquoPlay Company Hosted on the Playgroundportion of the Globersquos website and thusaimed at an audience of children the gamehas players taking on the role of Hemmingsan Elizabethan bear who leads a troupe oftheatrical animals such as Kit the Cat Dekker

the Dog and Slye the Foxe turn-based game leads players through

the vagaries of Elizabethan theatre practicefrom patronage to lost props and the plagueBy the end of the game players must earnenough money to rebuild the Globe after itburns down during a performance of HenryVIII

Also from Shakespearersquos Globe are twoinnovative video experiences created forchildren aged five to 11 e first Exploring

Shakespeare features two boys on a tour ofthe Globe theatre who sneak off to explorebackstage e video illustrates four plays

using short animations that are keyedto things the boys find backstage etechnology combines live action film andanimation to create an interactive touchablegame Filled with mini-games quizzes andinteresting facts about Shakespeare the gameallows players to click through the narrativeor to stop and learn more as they go along

e second video called Staging It usesthe same technology as the first film but thistime is for the 11-16 age group In this gamee Globe has filmed two actors performingfamous duologues from A MidsummerNightrsquos Dream and Macbeth on the Globestage Rather than shoot it once the actorshave performed their lines in diff erent ways(happy flirtatious defensive and so on)creating several diff erent clips per linePlayers can watch each of the clips and addtheir choice to a dynamic storyboard tobuild up their final scene Impressively theplatform allows for up to 1000000 diff erentcombinations of clips

Apps and Mini-GamesItrsquos when you start to look outside of therealm of popular video game platformslike Xbox or Playstation that Shakespeare

Silent Hill 3 Brush upyour Shakespeare ifyou want to survive

Hemmingsrsquo PlayCompany fromShakespearersquosGlobe

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Shakespeare video games

50 SHAKESPEARE magazine

really starts to pop up wherever you looke ubiquity of Shakespeare is especiallynoticeable when you start to look at apps andmini-games designed for phones and tablets

In 2012 Big Fish Games released aniPhone and iPad game called Hamlet that featured all the main characters ofShakespearersquos play but transposed them intoa save-the-princess narrative puzzle game A time traveller lands in Denmark andaccidentally kills Hamlet and so players mustcomplete his journey for him saving Opheliaand killing Claudiuse Shakespeareancontent is minimal and heavily adapted andyet it fits with the puzzle format in whichShakespeare tends to be found in videogamese Chronicles of Shakespeare Romeo amp

Juliet ande Chronicles of Shakespeare A Midsummer Nightrsquos Dream are lusciously-illustrated puzzle games for the PC In themplayers act as one of the characters from theplays gathering items and clues through aShakespearean environment

Among the literally thousands of appsrelated to Shakespeare that can be found forthe iPad or Android tablet are

e Shakespearean Insult Creator which generates invectives drawn from a wholly Shakespearean vocabulary So nexttime you want to call someone a jerk trysomething more like ldquoou fusty follyfallenfustilarianrdquo

e Shakespeare Translator whichtranslates ldquonormal English words and phrasesinto the words of Shakespeare himselfrdquo

e Shakespeare Fortune Cookie which provides short quotes from the plays

and a small trivia game Shakespeare or Die a game that

scrambles the words of famous quotationsfrom the plays and asks you to identify theplay and character who spoke the line If youmake a mistake however beware the witchesese apps are either explicitly games or

they are coming out of a game-like impulse tomake Shakespeare more accessible to everyone with an internet connection

Brave New WorldsIn a world where Shakespeare is an industrycounted in the millions of dollars per yearit is so easy to forget that Shakespearersquos playsare just that ndash playsere is a sense of joyand fun and happiness embedded in theexperience of watching them Games are oneof the ways that people over the centuries

have tried to recapture that elusive sense ofplayfulness within Shakespeare So it makesperfect sense that now with the advent ofdigital technologies Shakespeare is movinginto the digital world with a vengeance

From big studio games likee ElderScrolls to small apps that can be downloadedfor free from talking bears to immersiveperformance experiences Shakespeare iseverywhere in video games Rather than beingan undiscovered country into which the Bard

is only just beginning to emerge games havein fact engaged with Shakespeare and his works for hundreds of years And they willprobably continue to do so for hundreds ofyears to come

rsquoSpeare is a scrollingarcade-stylegame with addedShakespeare trivia

Hamlet is aShakespeare-themed puzzle fromBig Fish Games

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Meet thy makers

Helen Mears fell into bardolatryduring her teenage years and has

never recovered She is a volunteersteward at Shakespearersquos Globe

which ensures a regular diet of theBard She teaches English Film andMedia at Suffolk New College and isa specialist in teaching Shakespeareusing active methods Her favouriteShakespearean actor is Jamie Parker

and her favourite plays are the SecondHistory Tetralogy She hopes to

finish her Masters in the AdvancedTeaching of Shakespeare very soonFind her on Twitter hipster_hels

Paul F Cockburn is an Edinburgh-based freelance magazine journalist who specialises in writing about

arts and culture equality issues andpopular science Hersquos sufficiently

grey-haired for his English Literaturetraining to have sort of overlapped

with The BBC Television Shakespeareproject saving at least some of the

plays from death by academiaFind him on Twitter paulfcockburn

Jen Richardson first fell in love withShakespeare as a 15-year-old schoolgirl

ldquoHe got under my skin and hersquos still theretodayrdquo After training with a Manchester-based drama tutor she went on to pursuean acting career Drama remains a greatinterest but her focus is now on sharing

her passion for Shakespeare throughher writing In her spare time Jen is

generally down in Stratford-upon-Avonsitting on her favourite bench behind

Holy Trinity ChurchFind her on Twitter The_JenJen

Andrew Bretz is a sessional instructorof English Literature and Drama

specialising in early modern dramaHe has taught at Wilfrid LaurierUniversity the University of Guelph

Brock University and McMasterUniversity For the past two years he

has taught a special summer intensiveat Ontariorsquos Stratford Festival His PhDdissertation was on the representationof sexual violence on the early modern

stage Find him on TwitterAndrewBretz001

Just some of the contributors to this issue of Shakespeare Magazine

Rosalind Lyons is a painter whohas exhibited widely in both mixedand solo shows with work in UK

and international private collections A life-long love of Shakespeare isreflected in many of her paintings

and a particular recent focus isShakespearersquos Globe theatre where shespent a period as artist-in-residenceShe is currently studying for a PhD

in Painting and ShakespeareanTheatre at Anglia Ruskin University

in CambridgeFind her on Twitter roslyons

52 SHAKESPEARE magazine

Contributors

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Page 37: Shakespeare Magazine 08

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Crowning gloryAidan with MarinShakespearersquosRobert Currier

created Itrsquos helpful to know the facts of thesituation in order to gain insight into whathas been changed in Shakespearersquos versionof events

ldquoI met with a friend of mine who is a

retired surgeon who walked me through themedical information that has come to lighton Richardrsquos body and I will certainly usethat to inform my physical choicesrdquo Unlike many actors yoursquore the right

age to play the historical Richard III

Do you feel Richardrsquos relative youth

has been overlooked

ldquoI do Richard is a young man who believeshe is hardened by the experiences he andhis family endured during the War of theRoses and believes himself to be beyondhuman emotions and the lsquorestrictionsrsquo of aconscience He isnrsquot He pays the bill for thehorrible things he does That lack of self-knowledge is not exclusive to youth but I feelit makes him more sympathetic and relatableto an audiencerdquo Some people think Richard III shows

Shakespeare delivering a highly

effective piece of Tudor propaganda

Where do you stand on thatldquoI think Shakespeare has a soft spot foroutsiders and underdogs Although his playssometimes work within the confines of thebiases of Elizabethan society he canrsquot help butmake his lsquovillainsrsquo fascinating human beings

For as horrible as Richard is itrsquos amazing tosee how audiences relate and respond to himrdquo Which other important themes do

you feel Shakespeare deals with in

the playldquoThe history plays are full of extraordinarypeople who waste their lives and intelligence who sacrifice their humanity in pursuit of thecrown Itrsquos still happening today What is theattraction of power Richard never pauses tothink of why he wants the crown or if hersquodbe any good as king Turns out hersquos not butitrsquos this bizarre obsession with control thatpropels him to kill everyone off thatrsquos in his way Itrsquos also fascinating that the one characterthat is consistently kind to Richard is hisfather York

ldquoI think an argument can be made thatRichard in his warped way is trying to liveup to the image he has of his father Ofcourse York is dead and gone by the timeRichard III begins but you can glean a lotabout Richardrsquos inner workings in the way hespeaks about his father Of course itrsquos foolishto try to answer questions that Shakespearedoesnrsquot and Irsquom not trying to say this solvesa mystery but I think itrsquos interesting Itrsquos only

an element itrsquos not the answerrdquo Richard III is listed as a historical

play in the First Folio but in the

quarto edition it is termed a tragedy

Which category would you put the

play in and why

ldquoI think of the history plays from Richard II to Richard III as one vast play an epic thatencompasses all the categories I think if youlook at Richardrsquos progression through those

plays you see a great mind warped by the War of the Roses and that certainly adds tothe tragic element I think of Richard III asthe final chapter of a great epicrdquo

Aidan OrsquoReilly stars in Marin ShakespeareCompanyrsquos Richard III from 4-27 September

Aidan OrsquoReilly

SHAKESPEARE magazine 37

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Scotland Shakes

SHAKESPEARE magazine 39

Bonnie Prince

Brian Fergusonas Hamlet in theCitizens Theatre

production Photoby Tim Morozzo

Billy William Shakespeare is undoubtedly Englandrsquos

Bard But how is he viewed north of the border

Our Caledonian correspondent surveys the state

of Shakespeare in Scotland and meets esteemed

outdoor theatre company Bard in the Botanics

Words Paul F Cockburn

T owards the end of May thisyear a BBC Scotland afternoon

news bulletin surprisinglyturned its attention to aforthcoming production of

ldquoone of William Shakespearersquos best lovedplaysrdquo ndash A Midsummer Nightrsquos DreamHowever this particular production wasnrsquotconsidered newsworthy because it came froman amateur group based in Dumfries andGalloway Not even that the CrossmichaelDrama Club were one of just seven amateurScottish groups taking part in the Royal

Shakespeare Companyrsquos Open Stages project which aims to help amateur companies

extend their repertoiresNo the lsquohookrsquo was how this newproduction was Shakespeare ldquobut no asyou micht ken itrdquo Because it had beenreimagined in Scots as A MidsimmerNichtrsquos Dreme

As it happens writer John Burns saysthat his principle reason for translating AMidsimmer Nichtrsquos Dreme was simply theintuition that it being in Scots would workto the benefit of the production ldquoItrsquos not

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Scotland Shakes

40 SHAKESPEARE magazine

so much that 16th century English canrsquot docertain things more that using Scots brings itcloser to a Scottish audience and to audiences who might think Shakespeare too fancyrdquo hesays ldquoI feel too that Scots can catch the sheerphysical power of Shakespearersquos language He writes lines you really feel physically when

you say them out loud My intention was touse Scots to produce a text that was actableand which would be accessible and enjoyablefor the audience and the Scots was a majorpart of thatrdquo

Arguably translating Shakespeare intoScots ndash viewed by many as a distinct languagefrom English ndash is just one way of finding thecontinued relevancies of Shakespearersquos writing with the here and now Certainly John Burns was keen to see if Scots ldquocould match the way

Shakespeare switches tonehellip from broad attimes bawdy humour to moments that aremore serious or even sinisterrdquo

Yet there is a wider perspective whether wersquore discussing translation into Scots orsaying Shakespearersquos words with a Scottishaccent Willy Maley and Andrew Murphyin their introduction to Shakespeare andScotland (published by Manchester UniversityPress in 2004) go as far as describing thetranslation of Shakespearersquos Macbeth into

Scots as ldquoa patriotic actrdquo not least becauseof ldquothe political commitment implicit intranslating from English to Scots reversing

the dominant dubbing practice infi

lmsrdquoGlasgow-based novelist and playwright Alan Bissett ndash who actively campaigned fora Yes vote during last yearrsquos IndependenceReferendum ndash has since written about howsince the 1970s Scottish theatre had ldquoadeep engagement with the shifting beastof Scottish politicsrdquo Although Bissett wasfocusing primarily on original works byScottish playwrights and directors itrsquos worthpointing out that Shakespeare ndash despite therebeing absolutely no evidence to prove he evertravelled north of Carlisle ndash has played hisown part in this

As Maley and Murphy point outldquoScotlandhellip never had precisely the samerelationship with the Bard as England hasbut has experienced a fraught process ofappropriation incorporation and resistancerdquoIn part this is because Shakespeare ndash in hislatter career ndash was among the first lsquoBritishrsquo writers Many of his later plays ndash Cymbeline King Lear even Hamlet ndash were produced

A tartan-cladAntipholus andDromio in Bard inthe Botanicsrsquo TheComedy of Errors

Brian FergusonrsquosHamlet CitizensTheatre productionPhoto by TimMorozzo

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under the patronage of Scotlandrsquos King JamesVI (aka James I of England) Each in theirown way can be said to touch on ldquothe matterof Britainrdquo the complex relationship between

the constituent elements of Jamesrsquos newlsquounitedrsquo kingdom which the Stuart monarch was determined to see joined into oneat never quite happened of course

Even after the 1707 Act of UnionScotland retained its own legal educationaland religious systems along with anaccompanying sense of Scottish identity ndash which survived even the height of the Britishempire Yet from the 1970s on there havebeen notable changes in how Shakespeareis treated by Scotlandrsquos producing theatrecompanies Several years ago GlasgowrsquosCitizenseatre delivered a powerful Romeoand Juliet in part because of their decision toset the action in a present-day sectarian Westof Scotland ndash with accents to match

ldquoEnglish-accented Shakespeare carriesa specific resonance in Scotland one thatdirectors usually choose to avoidrdquo pointsout Mark Fisher a freelance journalist criticand author of the forthcoming book How toWrite Abouteatre

ldquoIrsquom not sure exactly when attitudesstarted to change but Irsquod say the argumentin favour of Scottish-accented productionshad been pretty much won by the 1990sBy that time companies such as Raindogand directors such as Hamish Glen hadbeen making a point of casting very Scottishproductions of Shakespearerdquo

One example of how things hadprogressed even by 1992 was the late KennyIrelandrsquos production of A Midsummer

Nightrsquos Dream his first as Artistic Directorat Edinburghrsquos Royal Lyceum ldquoHe castthe mechanicals with Scottish accents andeveryone else with English accentsrdquo MarkFisher explains ldquois I said in my review wasa fundamental error ndash or some such phrasee message it sent out was that people withScottish accents were foolish figures of fun whereas people with English accents wereserious figures of respect

ldquoIreland reacted furiously to my review

and made the case that he had based thecasting of the mechanicals around (the actor) Andy Gray who has a Scottish accent Inother words the meaning I inferred hadnot been deliberate I think itrsquos true to sayhowever that Ireland never cast a Shakespearelike that againrdquo

Gordon Barr is Artistic Director of

Glasgow-based Bard in the BotanicsScotlandrsquos only professional Shakespearecompany (see following pages)

ldquoWersquove never gone out of our way tomake Scottish versions of these texts norhave we gone out of our way to have classicaltraditional voicesrdquo he says ldquoMost of our coreactors have made their careers up here so wethink of them as Scottish actors

ldquoat is important to us to not overlylook outwards for the acting company As

much as possible we work with people who are based in Scotland Wersquore regularlyproducing Shakespeare here and we want tobe a part of the training to ensure that there isa range of strong classical actors hererdquo

Citizens Theatrewwwcitzcouk

Owen Whitehawas the Fool andDavid Hayman asLear in CitizensTheatrersquos King Lear Photo by TimMorozzo

Scotland Shakes

SHAKESPEARE magazine 41

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Bard in theBotanicsrsquo As You Like

It takes Rosalind andOrlando into theopen air

ldquoTouring is something that we have wanted to do foryears but was somethingthat we could not afford

to do without fundingrdquo says Gordon Barr Artistic Director of Scotlandrsquos only professionaloutdoor Shakespeare festival Bard in theBotanics If therersquos any irony attached tothe companyrsquos first major tour of Scotland which took place in early 2015 itrsquos that theperformances of their acclaimed Romeo and Juliet ndash featuring a cast of five ndash were playedexclusively indoors

ldquoNobody is touring classical theatre in

Scotland at the minute so itrsquos importantto usrdquo Barr adds ldquoOur work is so muchabout accessibility One of the joys of beingoutdoors is that people come to see the work who wouldnrsquot buy a ticket for a theatre Ifyou can bring a picnic sit out on the grass while watching the show it feels easier moreaccessible But people canrsquot come from Thursoto Glasgow for a night just to see a productionof Shakespeare They should be able to see itin Thurso So that is kind of where the urge totour came fromrdquo

Bard in the Botanics has presented outdoorShakespeare within the grounds of GlasgowrsquosBotanic Gardens since 2003 This yearrsquoslsquoUnlikely Wondersrsquo season presented newproductions of Loversquos Labourrsquos Lost The Merchant of Venice Richard II and A Midsummer Nightrsquos Dream in lsquoreprsquo between24 June and 1 August

The companyrsquos founder Scott PalmerBarr explains had done a lot of his training atthe Oregon Shakespeare Festival one of the

biggest in North America ldquoWith the kindof drive and enthusiasm that only Americanshave he managed to convince the entire cityof Glasgow that outdoor Shakespeare would work and that the weather wasnrsquot going to be

a problemrdquoTwo years later Palmer moved on and Barr

ndash originally involved as a director ndash succeededhim as Artistic Director ldquoIf anyone then hadsaid that I would end up spending 12 yearsrunning an outdoor Shakespeare festival I wouldnrsquot have believed themrdquo he says in hisoffice hidden behind some of the Botanicsrsquogardening sheds ldquoI very quickly fell in love with it once I started working here Despiteall the trials and tribulations that outdoortheatre in Scotland brings with it therersquos just

something magical and special about it Itrsquos a very close-knit company and thatrsquos sort of keptus all here as long as we have beenrdquo

While the annual summer season ofShakespeare plays in the Botanics will remainat the centre of what the company does ndashldquoOtherwise Bard in the Botanics becomesa rather strange namerdquo ndash Barr is very much

Outof theGarden

This year has seen Glasgowrsquos Bard in the Botanicsdo something completely unexpected They wentout on a tour of ndash whisper it ndash indoor venueshellip

Scotland Shakes

42 SHAKESPEARE magazine

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Scotland Shakes

SHAKESPEARE magazine 43

focused on building on the touring side ldquoBecause it was our first ever tour we

did end up taking Romeo and Juliet to theestablished Scottish touring circuitrdquo he addsldquoIt takes a while to build up relationships with the smaller venues thatrsquos going to bean ongoing process for us Even so we weretaking Romeo and Juliet to places like Mulland Stranraer ndash communities and venues thathavenrsquot had a lot of classical theatre comingthrough themrdquo

The choice of play was deliberate too ldquoIt was a production that was ready to go whichhad received five star reviews and sold out itsextended run in the Botanics in 2012 So weknew that the work was good but therersquos nodoubt that for a first tour we wanted to makeit easier for the venues to sell it Most venuesknow they can find an audience for Romeo and Juliet rdquo

In time he hopes that audiences aroundthe rest of Scotland will come to trust the Bardin the Botanics name sufficiently to take on theless familiar plays

ldquoYou just donrsquot know how quickly acommunity is going to turn out for Henry IV yetrdquo he says ldquoHopefully three or four toursdown the line theyrsquore going to turn out forBard in the Botanics ndash and if it happens to be

Henry IV well thatrsquos greatrdquoGiven their reimagining of A MidsummerNightrsquos Dream as a 1920s burlesque musicalis there a particular Bard in the Botanicsapproach to Shakespeare

ldquoOur kind of unofficial motto is lsquoBe BoldBe Braversquordquo Barr says ldquoIf wersquore continuingto stage these plays around 400 years afterShakespearersquos death I think therersquos an urgencyto ask lsquoWhyrsquo It is important to questionlsquoWhat is the story that we want to tellrsquo I wantto see how these plays intersect with historyand todayrsquos society not to present museumpieces

ldquoItrsquos always with an eye to try to releasesomething thatrsquos within the textrdquo Barrinsists ldquoWersquore not remotely interested ininnovation for innovationrsquos sake The playsare masterpieces thatrsquos essentially why wersquorestill doing them 400 years later But to revealsomething thatrsquos unexpected or new thatrsquosimportant to usrdquo

Bard in the Botanics

wwwbardinthebotanicscouk

Rosalind and Audreyin the forest Bardin the Botanicsrsquo As You Like It

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Shakespeare at the Tobacco Factory stf 2016 Seasonco-production with Tobacco Factory Theatres

HAMLETBy William Shakespeare

Directed by Andrew Hilton

Main run Thu 11 February ndash Sat 26 March 2016

In repertoire with Allrsquos Well That Ends WellMon 25 ndash Wed 27 April Sat 30 April 2016

The most famous play in world drama Hamlet

turns a new face to every decade So many

elements - political madness sex murder ndash all

brought together in a drama that is both a thriller

and the profoundest meditation on our human

condition

ldquoThrilling workrdquo The Guardian on Romeo amp Juliet

ldquoBullseyerdquo WhatsOnStage on Romeo amp Juliet

Shakespeare at the Tobacco Factory Friends Priority Booking opens Wed 23 September 10am

wwwstf-theatreorguk

Tobacco Factory Theatres Members Priority Booking opens Wed 16 September 10am

wwwtobaccofactorytheatrescom

Public Booking opens Wed 30 September 10am

Tobacco Factory Box Office 0117 902 0344

ALLrsquoS WELL THAT ENDS WELLBy William Shakespeare

Directed by Andrew Hilton

Main run Thu 31 March ndash Sat 23 April 2016

In repertoire with Hamlet

Thu 28 ndash Fri 29 April Sat 30 April

A young woman using skills bequeathed herby her father saves the French Kingrsquos life and

is rewarded with the right to choose her own

husband But what if the chosen one wonrsquot play

the game How can she get him into bed How

can she make him love her

ldquo There is something approaching real

magic hererdquo The Arts Desk on The School for Scandal

P h o t o s M

a r k D o u e t

Dorothea MyerBennett in Richard III

Benjamin Whitrowand Julia Hills in The

School For Scandal

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Having conquered

Hollywood and vanquished

the global entertainment

industry video games now

on our culture So where

does the Bard stand in all of

this We sent a Shakespeare

scholar to investigatehellip

Words Andrew Bretz

Shakespeare video games

46 SHAKESPEARE magazine

T eGamersquos A oot Silent Hill is one

big-name gamewhich includesShakespearereferences

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Shakespeare video games

SHAKESPEARE magazine 47

German cardboard Macbeth datingfrom the early1800s

Hamlet reimaginedRyan Northrsquos To Be

Or Not To Be

W

hen you walk intothe wood panelled Victorian Gothicismof the Gail Kern Paster

Reading Room at theFolger Shakespeare Library in WashingtonDC video games are probably the lastthing on your mind Buried deep withinthe archives however are a set of fragilecardboard figures printed in Germany in theearly 1800s representing each of the maincharacters of Macbeth

Nineteenth century German children would play with these figures on smallcardboard stages no bigger than a dollhouseey could replicate the story as it was toldin Shakespeare or use their imagination tochange the ending letting Lady Macbethsurvive and bringing Duncan back from thedead if they so chosee limits of the game were the limits of their imagination

Today the lsquogamificationrsquo of Shakespeareis a big business from Ryan Northrsquos choose-your-own-adventure edition of Hamlet To Be Or Not To Be to IDW Gamesrsquosupcoming Kill Shakespeare board gamebased on the comic of the same name

Gamifying Shakespeare is filtering intoschools libraries and the theatrical worldas well with the University of California atDavis the Stratford Festival in Ontario theGlobeeatre in London and the LondonMetropolitan Archives all experimenting with video game elements in exhibits productionsand research

Why video games In a sense this is thelogical next step in the media development ofShakespeare Hersquos everywhere in other media

books movies merchandise But videogamese answer for that depends on whoyou ask

StorytellingOccasionally individuals or publishinghouses develop video games that try to tellthe story of say Hamlet yet this is relativelyrare One example would be Elsinore a time-looping narrative adventure game set in the world of the play Players play the game as

Ophelia who wakes up knowing that in fourdays the entire court will be dead and shemust do something to stop ite problemis that she is stuck in a time loop reliving thesame four days over and over againat said Shakespearersquos presence in the

video game industry tends to be focused oncitation rather than adaptation of the playsat is video games for Xbox Playstationand other popular gaming systems often

just cite Shakespearersquos plays as a part of acommon cultural heritageese games donrsquotrestage say Hamlet but they quote the playIn these cases Shakespeare is used to establisha point of identification for the audience His writing tells the audience something aboutthe character or the situation

Given that audiences are supposedto be able to identify the quotations asShakespearean it is unsurprising that Hamlet is the most popular text for game designers to

cite Ine Elder Scrolls Online for instancea merchant NPC (non-player character)quotes Polonius when players interact sayingldquoNeither a borrower nor a lender berdquoe words establish the NPCrsquos role as a merchant while fitting the medieval world of thegame In the game LA Noire upon pickingup a fake shrunken head at a crime scene adetective leaps into high melodrama withldquoAlas poor Yorick I knew him Horatiordquoequotation and the clever voice acting establish

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Shakespeare video games

48 SHAKESPEARE magazine

the characterrsquos strait-laced yet macabre senseof humour

Sometimes citing Shakespeare is a partof a critique of a larger theme In the game Mass E ff ect the Elcor are a race of elephantinealiens who preface all statements with adescription of the emotion they are feelingand who speak in a slow monotonous drone As players interact with the expansive worldthey can discover a number of advertisementsfor an all-Elcor Hamlet e idea of theElcor actor ndash the ultimate in a flat woodenperformer ndash having to preface ldquoTo be or not

to berdquo with ldquomorose ruminationrdquo goes beyondthe simple humour of a bad Shakespeareperformance It subtly asks what it is aboutacting (and especially voice acting) that isvaluable

Shakespeare can appear in video gamesnot merely as a marker or contextualisationtool but as a part of a puzzle For example inthe game Silent Hill 3 players must arrange aset of Shakespeare anthologies on a bookshelfin an abandoned shopping mall in order to

proceed in the game At the hardest levelthe puzzle clue takes the form of a poemthat references all the major tragedies Romeoand Juliet King Lear Macbeth Othello andof course Hamlet e bloody nature of thetragedies fits with the bloody nature of theSilent Hill series of games which fall into thesurvival horror genre

Popular video games have also servedas the inspiration for games that engage with Shakespeare in a more direct way For

example Daniel Fischlin at the Universityof Guelph in Ontario Canada led a teamthat created a Flash game called rsquoSpeare Itrsquos

a scrolling arcade-style game suggesting thersquo80s hit Galaga which sees players identifyingand navigating through a series of enemies who turn into words upon being destroyede player progresses through the levelsby collecting the correct words to createShakespearean quotes learning Shakespeareantrivia along the way

ImmersionOne of the most exciting aspects of videogames is the ability to immerse the player inthe world of the game in a way that othermedia simply cannot do Being able to walkaround Prosperorsquos cell Julietrsquos balcony orto stand before the ghost of Hamletrsquos fatheras he cries out ldquoList list O listrdquo ndash theseexperiences are made possible through videogame technology

Students of Scenic Arts at the Universityof Hildesheim in Germany created Projekt ARIEL or SturmMOD in 2008 using a lsquomodrsquo(or modification) to the engine that runs

the game Far Cry 1 e performance artproject allowed users to experience Prosperorsquosisland interacting with certain parts andexploring others Players could walk aroundan imaginative rendition of Prosperorsquos cell and witness or interact with elements of the playincluding diff erent characters like CalibanProspero and Miranda

Four days to savethe Danish court

Elsinore

Another Hamlet reference this timein LA Noire

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Shakespeare video games

SHAKESPEARE magazine 49

Gina Bloom at the University of Californiaat Davis is presently spearheading a projectthat will be demonstrated in the lobby of theStratford Festival theatre in Ontario Canadathis summere project Play the Knave AShakespeare Performance Videogame lets usersdesign a virtual performance space and thenperform a scene from a Shakespeare playinhabiting this constructed space with anavatar As a Davis insider explains ldquoWe use akinect motion capture camera to capture theuserrsquos skeletal data so that players use theirentire bodies to control their avatarrsquos gesturesonscreen all the while reciting the lines from

Shakespearersquos scenerdquo is literally immersesthe players in the scene

Shakespearersquos Globe eatre in Londontook another tactic regarding immersionin the production of the game HemmingsrsquoPlay Company Hosted on the Playgroundportion of the Globersquos website and thusaimed at an audience of children the gamehas players taking on the role of Hemmingsan Elizabethan bear who leads a troupe oftheatrical animals such as Kit the Cat Dekker

the Dog and Slye the Foxe turn-based game leads players through

the vagaries of Elizabethan theatre practicefrom patronage to lost props and the plagueBy the end of the game players must earnenough money to rebuild the Globe after itburns down during a performance of HenryVIII

Also from Shakespearersquos Globe are twoinnovative video experiences created forchildren aged five to 11 e first Exploring

Shakespeare features two boys on a tour ofthe Globe theatre who sneak off to explorebackstage e video illustrates four plays

using short animations that are keyedto things the boys find backstage etechnology combines live action film andanimation to create an interactive touchablegame Filled with mini-games quizzes andinteresting facts about Shakespeare the gameallows players to click through the narrativeor to stop and learn more as they go along

e second video called Staging It usesthe same technology as the first film but thistime is for the 11-16 age group In this gamee Globe has filmed two actors performingfamous duologues from A MidsummerNightrsquos Dream and Macbeth on the Globestage Rather than shoot it once the actorshave performed their lines in diff erent ways(happy flirtatious defensive and so on)creating several diff erent clips per linePlayers can watch each of the clips and addtheir choice to a dynamic storyboard tobuild up their final scene Impressively theplatform allows for up to 1000000 diff erentcombinations of clips

Apps and Mini-GamesItrsquos when you start to look outside of therealm of popular video game platformslike Xbox or Playstation that Shakespeare

Silent Hill 3 Brush upyour Shakespeare ifyou want to survive

Hemmingsrsquo PlayCompany fromShakespearersquosGlobe

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Shakespeare video games

50 SHAKESPEARE magazine

really starts to pop up wherever you looke ubiquity of Shakespeare is especiallynoticeable when you start to look at apps andmini-games designed for phones and tablets

In 2012 Big Fish Games released aniPhone and iPad game called Hamlet that featured all the main characters ofShakespearersquos play but transposed them intoa save-the-princess narrative puzzle game A time traveller lands in Denmark andaccidentally kills Hamlet and so players mustcomplete his journey for him saving Opheliaand killing Claudiuse Shakespeareancontent is minimal and heavily adapted andyet it fits with the puzzle format in whichShakespeare tends to be found in videogamese Chronicles of Shakespeare Romeo amp

Juliet ande Chronicles of Shakespeare A Midsummer Nightrsquos Dream are lusciously-illustrated puzzle games for the PC In themplayers act as one of the characters from theplays gathering items and clues through aShakespearean environment

Among the literally thousands of appsrelated to Shakespeare that can be found forthe iPad or Android tablet are

e Shakespearean Insult Creator which generates invectives drawn from a wholly Shakespearean vocabulary So nexttime you want to call someone a jerk trysomething more like ldquoou fusty follyfallenfustilarianrdquo

e Shakespeare Translator whichtranslates ldquonormal English words and phrasesinto the words of Shakespeare himselfrdquo

e Shakespeare Fortune Cookie which provides short quotes from the plays

and a small trivia game Shakespeare or Die a game that

scrambles the words of famous quotationsfrom the plays and asks you to identify theplay and character who spoke the line If youmake a mistake however beware the witchesese apps are either explicitly games or

they are coming out of a game-like impulse tomake Shakespeare more accessible to everyone with an internet connection

Brave New WorldsIn a world where Shakespeare is an industrycounted in the millions of dollars per yearit is so easy to forget that Shakespearersquos playsare just that ndash playsere is a sense of joyand fun and happiness embedded in theexperience of watching them Games are oneof the ways that people over the centuries

have tried to recapture that elusive sense ofplayfulness within Shakespeare So it makesperfect sense that now with the advent ofdigital technologies Shakespeare is movinginto the digital world with a vengeance

From big studio games likee ElderScrolls to small apps that can be downloadedfor free from talking bears to immersiveperformance experiences Shakespeare iseverywhere in video games Rather than beingan undiscovered country into which the Bard

is only just beginning to emerge games havein fact engaged with Shakespeare and his works for hundreds of years And they willprobably continue to do so for hundreds ofyears to come

rsquoSpeare is a scrollingarcade-stylegame with addedShakespeare trivia

Hamlet is aShakespeare-themed puzzle fromBig Fish Games

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Meet thy makers

Helen Mears fell into bardolatryduring her teenage years and has

never recovered She is a volunteersteward at Shakespearersquos Globe

which ensures a regular diet of theBard She teaches English Film andMedia at Suffolk New College and isa specialist in teaching Shakespeareusing active methods Her favouriteShakespearean actor is Jamie Parker

and her favourite plays are the SecondHistory Tetralogy She hopes to

finish her Masters in the AdvancedTeaching of Shakespeare very soonFind her on Twitter hipster_hels

Paul F Cockburn is an Edinburgh-based freelance magazine journalist who specialises in writing about

arts and culture equality issues andpopular science Hersquos sufficiently

grey-haired for his English Literaturetraining to have sort of overlapped

with The BBC Television Shakespeareproject saving at least some of the

plays from death by academiaFind him on Twitter paulfcockburn

Jen Richardson first fell in love withShakespeare as a 15-year-old schoolgirl

ldquoHe got under my skin and hersquos still theretodayrdquo After training with a Manchester-based drama tutor she went on to pursuean acting career Drama remains a greatinterest but her focus is now on sharing

her passion for Shakespeare throughher writing In her spare time Jen is

generally down in Stratford-upon-Avonsitting on her favourite bench behind

Holy Trinity ChurchFind her on Twitter The_JenJen

Andrew Bretz is a sessional instructorof English Literature and Drama

specialising in early modern dramaHe has taught at Wilfrid LaurierUniversity the University of Guelph

Brock University and McMasterUniversity For the past two years he

has taught a special summer intensiveat Ontariorsquos Stratford Festival His PhDdissertation was on the representationof sexual violence on the early modern

stage Find him on TwitterAndrewBretz001

Just some of the contributors to this issue of Shakespeare Magazine

Rosalind Lyons is a painter whohas exhibited widely in both mixedand solo shows with work in UK

and international private collections A life-long love of Shakespeare isreflected in many of her paintings

and a particular recent focus isShakespearersquos Globe theatre where shespent a period as artist-in-residenceShe is currently studying for a PhD

in Painting and ShakespeareanTheatre at Anglia Ruskin University

in CambridgeFind her on Twitter roslyons

52 SHAKESPEARE magazine

Contributors

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Page 38: Shakespeare Magazine 08

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Scotland Shakes

SHAKESPEARE magazine 39

Bonnie Prince

Brian Fergusonas Hamlet in theCitizens Theatre

production Photoby Tim Morozzo

Billy William Shakespeare is undoubtedly Englandrsquos

Bard But how is he viewed north of the border

Our Caledonian correspondent surveys the state

of Shakespeare in Scotland and meets esteemed

outdoor theatre company Bard in the Botanics

Words Paul F Cockburn

T owards the end of May thisyear a BBC Scotland afternoon

news bulletin surprisinglyturned its attention to aforthcoming production of

ldquoone of William Shakespearersquos best lovedplaysrdquo ndash A Midsummer Nightrsquos DreamHowever this particular production wasnrsquotconsidered newsworthy because it came froman amateur group based in Dumfries andGalloway Not even that the CrossmichaelDrama Club were one of just seven amateurScottish groups taking part in the Royal

Shakespeare Companyrsquos Open Stages project which aims to help amateur companies

extend their repertoiresNo the lsquohookrsquo was how this newproduction was Shakespeare ldquobut no asyou micht ken itrdquo Because it had beenreimagined in Scots as A MidsimmerNichtrsquos Dreme

As it happens writer John Burns saysthat his principle reason for translating AMidsimmer Nichtrsquos Dreme was simply theintuition that it being in Scots would workto the benefit of the production ldquoItrsquos not

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Scotland Shakes

40 SHAKESPEARE magazine

so much that 16th century English canrsquot docertain things more that using Scots brings itcloser to a Scottish audience and to audiences who might think Shakespeare too fancyrdquo hesays ldquoI feel too that Scots can catch the sheerphysical power of Shakespearersquos language He writes lines you really feel physically when

you say them out loud My intention was touse Scots to produce a text that was actableand which would be accessible and enjoyablefor the audience and the Scots was a majorpart of thatrdquo

Arguably translating Shakespeare intoScots ndash viewed by many as a distinct languagefrom English ndash is just one way of finding thecontinued relevancies of Shakespearersquos writing with the here and now Certainly John Burns was keen to see if Scots ldquocould match the way

Shakespeare switches tonehellip from broad attimes bawdy humour to moments that aremore serious or even sinisterrdquo

Yet there is a wider perspective whether wersquore discussing translation into Scots orsaying Shakespearersquos words with a Scottishaccent Willy Maley and Andrew Murphyin their introduction to Shakespeare andScotland (published by Manchester UniversityPress in 2004) go as far as describing thetranslation of Shakespearersquos Macbeth into

Scots as ldquoa patriotic actrdquo not least becauseof ldquothe political commitment implicit intranslating from English to Scots reversing

the dominant dubbing practice infi

lmsrdquoGlasgow-based novelist and playwright Alan Bissett ndash who actively campaigned fora Yes vote during last yearrsquos IndependenceReferendum ndash has since written about howsince the 1970s Scottish theatre had ldquoadeep engagement with the shifting beastof Scottish politicsrdquo Although Bissett wasfocusing primarily on original works byScottish playwrights and directors itrsquos worthpointing out that Shakespeare ndash despite therebeing absolutely no evidence to prove he evertravelled north of Carlisle ndash has played hisown part in this

As Maley and Murphy point outldquoScotlandhellip never had precisely the samerelationship with the Bard as England hasbut has experienced a fraught process ofappropriation incorporation and resistancerdquoIn part this is because Shakespeare ndash in hislatter career ndash was among the first lsquoBritishrsquo writers Many of his later plays ndash Cymbeline King Lear even Hamlet ndash were produced

A tartan-cladAntipholus andDromio in Bard inthe Botanicsrsquo TheComedy of Errors

Brian FergusonrsquosHamlet CitizensTheatre productionPhoto by TimMorozzo

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under the patronage of Scotlandrsquos King JamesVI (aka James I of England) Each in theirown way can be said to touch on ldquothe matterof Britainrdquo the complex relationship between

the constituent elements of Jamesrsquos newlsquounitedrsquo kingdom which the Stuart monarch was determined to see joined into oneat never quite happened of course

Even after the 1707 Act of UnionScotland retained its own legal educationaland religious systems along with anaccompanying sense of Scottish identity ndash which survived even the height of the Britishempire Yet from the 1970s on there havebeen notable changes in how Shakespeareis treated by Scotlandrsquos producing theatrecompanies Several years ago GlasgowrsquosCitizenseatre delivered a powerful Romeoand Juliet in part because of their decision toset the action in a present-day sectarian Westof Scotland ndash with accents to match

ldquoEnglish-accented Shakespeare carriesa specific resonance in Scotland one thatdirectors usually choose to avoidrdquo pointsout Mark Fisher a freelance journalist criticand author of the forthcoming book How toWrite Abouteatre

ldquoIrsquom not sure exactly when attitudesstarted to change but Irsquod say the argumentin favour of Scottish-accented productionshad been pretty much won by the 1990sBy that time companies such as Raindogand directors such as Hamish Glen hadbeen making a point of casting very Scottishproductions of Shakespearerdquo

One example of how things hadprogressed even by 1992 was the late KennyIrelandrsquos production of A Midsummer

Nightrsquos Dream his first as Artistic Directorat Edinburghrsquos Royal Lyceum ldquoHe castthe mechanicals with Scottish accents andeveryone else with English accentsrdquo MarkFisher explains ldquois I said in my review wasa fundamental error ndash or some such phrasee message it sent out was that people withScottish accents were foolish figures of fun whereas people with English accents wereserious figures of respect

ldquoIreland reacted furiously to my review

and made the case that he had based thecasting of the mechanicals around (the actor) Andy Gray who has a Scottish accent Inother words the meaning I inferred hadnot been deliberate I think itrsquos true to sayhowever that Ireland never cast a Shakespearelike that againrdquo

Gordon Barr is Artistic Director of

Glasgow-based Bard in the BotanicsScotlandrsquos only professional Shakespearecompany (see following pages)

ldquoWersquove never gone out of our way tomake Scottish versions of these texts norhave we gone out of our way to have classicaltraditional voicesrdquo he says ldquoMost of our coreactors have made their careers up here so wethink of them as Scottish actors

ldquoat is important to us to not overlylook outwards for the acting company As

much as possible we work with people who are based in Scotland Wersquore regularlyproducing Shakespeare here and we want tobe a part of the training to ensure that there isa range of strong classical actors hererdquo

Citizens Theatrewwwcitzcouk

Owen Whitehawas the Fool andDavid Hayman asLear in CitizensTheatrersquos King Lear Photo by TimMorozzo

Scotland Shakes

SHAKESPEARE magazine 41

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Bard in theBotanicsrsquo As You Like

It takes Rosalind andOrlando into theopen air

ldquoTouring is something that we have wanted to do foryears but was somethingthat we could not afford

to do without fundingrdquo says Gordon Barr Artistic Director of Scotlandrsquos only professionaloutdoor Shakespeare festival Bard in theBotanics If therersquos any irony attached tothe companyrsquos first major tour of Scotland which took place in early 2015 itrsquos that theperformances of their acclaimed Romeo and Juliet ndash featuring a cast of five ndash were playedexclusively indoors

ldquoNobody is touring classical theatre in

Scotland at the minute so itrsquos importantto usrdquo Barr adds ldquoOur work is so muchabout accessibility One of the joys of beingoutdoors is that people come to see the work who wouldnrsquot buy a ticket for a theatre Ifyou can bring a picnic sit out on the grass while watching the show it feels easier moreaccessible But people canrsquot come from Thursoto Glasgow for a night just to see a productionof Shakespeare They should be able to see itin Thurso So that is kind of where the urge totour came fromrdquo

Bard in the Botanics has presented outdoorShakespeare within the grounds of GlasgowrsquosBotanic Gardens since 2003 This yearrsquoslsquoUnlikely Wondersrsquo season presented newproductions of Loversquos Labourrsquos Lost The Merchant of Venice Richard II and A Midsummer Nightrsquos Dream in lsquoreprsquo between24 June and 1 August

The companyrsquos founder Scott PalmerBarr explains had done a lot of his training atthe Oregon Shakespeare Festival one of the

biggest in North America ldquoWith the kindof drive and enthusiasm that only Americanshave he managed to convince the entire cityof Glasgow that outdoor Shakespeare would work and that the weather wasnrsquot going to be

a problemrdquoTwo years later Palmer moved on and Barr

ndash originally involved as a director ndash succeededhim as Artistic Director ldquoIf anyone then hadsaid that I would end up spending 12 yearsrunning an outdoor Shakespeare festival I wouldnrsquot have believed themrdquo he says in hisoffice hidden behind some of the Botanicsrsquogardening sheds ldquoI very quickly fell in love with it once I started working here Despiteall the trials and tribulations that outdoortheatre in Scotland brings with it therersquos just

something magical and special about it Itrsquos a very close-knit company and thatrsquos sort of keptus all here as long as we have beenrdquo

While the annual summer season ofShakespeare plays in the Botanics will remainat the centre of what the company does ndashldquoOtherwise Bard in the Botanics becomesa rather strange namerdquo ndash Barr is very much

Outof theGarden

This year has seen Glasgowrsquos Bard in the Botanicsdo something completely unexpected They wentout on a tour of ndash whisper it ndash indoor venueshellip

Scotland Shakes

42 SHAKESPEARE magazine

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Scotland Shakes

SHAKESPEARE magazine 43

focused on building on the touring side ldquoBecause it was our first ever tour we

did end up taking Romeo and Juliet to theestablished Scottish touring circuitrdquo he addsldquoIt takes a while to build up relationships with the smaller venues thatrsquos going to bean ongoing process for us Even so we weretaking Romeo and Juliet to places like Mulland Stranraer ndash communities and venues thathavenrsquot had a lot of classical theatre comingthrough themrdquo

The choice of play was deliberate too ldquoIt was a production that was ready to go whichhad received five star reviews and sold out itsextended run in the Botanics in 2012 So weknew that the work was good but therersquos nodoubt that for a first tour we wanted to makeit easier for the venues to sell it Most venuesknow they can find an audience for Romeo and Juliet rdquo

In time he hopes that audiences aroundthe rest of Scotland will come to trust the Bardin the Botanics name sufficiently to take on theless familiar plays

ldquoYou just donrsquot know how quickly acommunity is going to turn out for Henry IV yetrdquo he says ldquoHopefully three or four toursdown the line theyrsquore going to turn out forBard in the Botanics ndash and if it happens to be

Henry IV well thatrsquos greatrdquoGiven their reimagining of A MidsummerNightrsquos Dream as a 1920s burlesque musicalis there a particular Bard in the Botanicsapproach to Shakespeare

ldquoOur kind of unofficial motto is lsquoBe BoldBe Braversquordquo Barr says ldquoIf wersquore continuingto stage these plays around 400 years afterShakespearersquos death I think therersquos an urgencyto ask lsquoWhyrsquo It is important to questionlsquoWhat is the story that we want to tellrsquo I wantto see how these plays intersect with historyand todayrsquos society not to present museumpieces

ldquoItrsquos always with an eye to try to releasesomething thatrsquos within the textrdquo Barrinsists ldquoWersquore not remotely interested ininnovation for innovationrsquos sake The playsare masterpieces thatrsquos essentially why wersquorestill doing them 400 years later But to revealsomething thatrsquos unexpected or new thatrsquosimportant to usrdquo

Bard in the Botanics

wwwbardinthebotanicscouk

Rosalind and Audreyin the forest Bardin the Botanicsrsquo As You Like It

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Shakespeare at the Tobacco Factory stf 2016 Seasonco-production with Tobacco Factory Theatres

HAMLETBy William Shakespeare

Directed by Andrew Hilton

Main run Thu 11 February ndash Sat 26 March 2016

In repertoire with Allrsquos Well That Ends WellMon 25 ndash Wed 27 April Sat 30 April 2016

The most famous play in world drama Hamlet

turns a new face to every decade So many

elements - political madness sex murder ndash all

brought together in a drama that is both a thriller

and the profoundest meditation on our human

condition

ldquoThrilling workrdquo The Guardian on Romeo amp Juliet

ldquoBullseyerdquo WhatsOnStage on Romeo amp Juliet

Shakespeare at the Tobacco Factory Friends Priority Booking opens Wed 23 September 10am

wwwstf-theatreorguk

Tobacco Factory Theatres Members Priority Booking opens Wed 16 September 10am

wwwtobaccofactorytheatrescom

Public Booking opens Wed 30 September 10am

Tobacco Factory Box Office 0117 902 0344

ALLrsquoS WELL THAT ENDS WELLBy William Shakespeare

Directed by Andrew Hilton

Main run Thu 31 March ndash Sat 23 April 2016

In repertoire with Hamlet

Thu 28 ndash Fri 29 April Sat 30 April

A young woman using skills bequeathed herby her father saves the French Kingrsquos life and

is rewarded with the right to choose her own

husband But what if the chosen one wonrsquot play

the game How can she get him into bed How

can she make him love her

ldquo There is something approaching real

magic hererdquo The Arts Desk on The School for Scandal

P h o t o s M

a r k D o u e t

Dorothea MyerBennett in Richard III

Benjamin Whitrowand Julia Hills in The

School For Scandal

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httpslidepdfcomreaderfullshakespeare-magazine-08 4556

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httpslidepdfcomreaderfullshakespeare-magazine-08 4656

Having conquered

Hollywood and vanquished

the global entertainment

industry video games now

on our culture So where

does the Bard stand in all of

this We sent a Shakespeare

scholar to investigatehellip

Words Andrew Bretz

Shakespeare video games

46 SHAKESPEARE magazine

T eGamersquos A oot Silent Hill is one

big-name gamewhich includesShakespearereferences

7172019 Shakespeare Magazine 08

httpslidepdfcomreaderfullshakespeare-magazine-08 4756

Shakespeare video games

SHAKESPEARE magazine 47

German cardboard Macbeth datingfrom the early1800s

Hamlet reimaginedRyan Northrsquos To Be

Or Not To Be

W

hen you walk intothe wood panelled Victorian Gothicismof the Gail Kern Paster

Reading Room at theFolger Shakespeare Library in WashingtonDC video games are probably the lastthing on your mind Buried deep withinthe archives however are a set of fragilecardboard figures printed in Germany in theearly 1800s representing each of the maincharacters of Macbeth

Nineteenth century German children would play with these figures on smallcardboard stages no bigger than a dollhouseey could replicate the story as it was toldin Shakespeare or use their imagination tochange the ending letting Lady Macbethsurvive and bringing Duncan back from thedead if they so chosee limits of the game were the limits of their imagination

Today the lsquogamificationrsquo of Shakespeareis a big business from Ryan Northrsquos choose-your-own-adventure edition of Hamlet To Be Or Not To Be to IDW Gamesrsquosupcoming Kill Shakespeare board gamebased on the comic of the same name

Gamifying Shakespeare is filtering intoschools libraries and the theatrical worldas well with the University of California atDavis the Stratford Festival in Ontario theGlobeeatre in London and the LondonMetropolitan Archives all experimenting with video game elements in exhibits productionsand research

Why video games In a sense this is thelogical next step in the media development ofShakespeare Hersquos everywhere in other media

books movies merchandise But videogamese answer for that depends on whoyou ask

StorytellingOccasionally individuals or publishinghouses develop video games that try to tellthe story of say Hamlet yet this is relativelyrare One example would be Elsinore a time-looping narrative adventure game set in the world of the play Players play the game as

Ophelia who wakes up knowing that in fourdays the entire court will be dead and shemust do something to stop ite problemis that she is stuck in a time loop reliving thesame four days over and over againat said Shakespearersquos presence in the

video game industry tends to be focused oncitation rather than adaptation of the playsat is video games for Xbox Playstationand other popular gaming systems often

just cite Shakespearersquos plays as a part of acommon cultural heritageese games donrsquotrestage say Hamlet but they quote the playIn these cases Shakespeare is used to establisha point of identification for the audience His writing tells the audience something aboutthe character or the situation

Given that audiences are supposedto be able to identify the quotations asShakespearean it is unsurprising that Hamlet is the most popular text for game designers to

cite Ine Elder Scrolls Online for instancea merchant NPC (non-player character)quotes Polonius when players interact sayingldquoNeither a borrower nor a lender berdquoe words establish the NPCrsquos role as a merchant while fitting the medieval world of thegame In the game LA Noire upon pickingup a fake shrunken head at a crime scene adetective leaps into high melodrama withldquoAlas poor Yorick I knew him Horatiordquoequotation and the clever voice acting establish

7172019 Shakespeare Magazine 08

httpslidepdfcomreaderfullshakespeare-magazine-08 4856

Shakespeare video games

48 SHAKESPEARE magazine

the characterrsquos strait-laced yet macabre senseof humour

Sometimes citing Shakespeare is a partof a critique of a larger theme In the game Mass E ff ect the Elcor are a race of elephantinealiens who preface all statements with adescription of the emotion they are feelingand who speak in a slow monotonous drone As players interact with the expansive worldthey can discover a number of advertisementsfor an all-Elcor Hamlet e idea of theElcor actor ndash the ultimate in a flat woodenperformer ndash having to preface ldquoTo be or not

to berdquo with ldquomorose ruminationrdquo goes beyondthe simple humour of a bad Shakespeareperformance It subtly asks what it is aboutacting (and especially voice acting) that isvaluable

Shakespeare can appear in video gamesnot merely as a marker or contextualisationtool but as a part of a puzzle For example inthe game Silent Hill 3 players must arrange aset of Shakespeare anthologies on a bookshelfin an abandoned shopping mall in order to

proceed in the game At the hardest levelthe puzzle clue takes the form of a poemthat references all the major tragedies Romeoand Juliet King Lear Macbeth Othello andof course Hamlet e bloody nature of thetragedies fits with the bloody nature of theSilent Hill series of games which fall into thesurvival horror genre

Popular video games have also servedas the inspiration for games that engage with Shakespeare in a more direct way For

example Daniel Fischlin at the Universityof Guelph in Ontario Canada led a teamthat created a Flash game called rsquoSpeare Itrsquos

a scrolling arcade-style game suggesting thersquo80s hit Galaga which sees players identifyingand navigating through a series of enemies who turn into words upon being destroyede player progresses through the levelsby collecting the correct words to createShakespearean quotes learning Shakespeareantrivia along the way

ImmersionOne of the most exciting aspects of videogames is the ability to immerse the player inthe world of the game in a way that othermedia simply cannot do Being able to walkaround Prosperorsquos cell Julietrsquos balcony orto stand before the ghost of Hamletrsquos fatheras he cries out ldquoList list O listrdquo ndash theseexperiences are made possible through videogame technology

Students of Scenic Arts at the Universityof Hildesheim in Germany created Projekt ARIEL or SturmMOD in 2008 using a lsquomodrsquo(or modification) to the engine that runs

the game Far Cry 1 e performance artproject allowed users to experience Prosperorsquosisland interacting with certain parts andexploring others Players could walk aroundan imaginative rendition of Prosperorsquos cell and witness or interact with elements of the playincluding diff erent characters like CalibanProspero and Miranda

Four days to savethe Danish court

Elsinore

Another Hamlet reference this timein LA Noire

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Shakespeare video games

SHAKESPEARE magazine 49

Gina Bloom at the University of Californiaat Davis is presently spearheading a projectthat will be demonstrated in the lobby of theStratford Festival theatre in Ontario Canadathis summere project Play the Knave AShakespeare Performance Videogame lets usersdesign a virtual performance space and thenperform a scene from a Shakespeare playinhabiting this constructed space with anavatar As a Davis insider explains ldquoWe use akinect motion capture camera to capture theuserrsquos skeletal data so that players use theirentire bodies to control their avatarrsquos gesturesonscreen all the while reciting the lines from

Shakespearersquos scenerdquo is literally immersesthe players in the scene

Shakespearersquos Globe eatre in Londontook another tactic regarding immersionin the production of the game HemmingsrsquoPlay Company Hosted on the Playgroundportion of the Globersquos website and thusaimed at an audience of children the gamehas players taking on the role of Hemmingsan Elizabethan bear who leads a troupe oftheatrical animals such as Kit the Cat Dekker

the Dog and Slye the Foxe turn-based game leads players through

the vagaries of Elizabethan theatre practicefrom patronage to lost props and the plagueBy the end of the game players must earnenough money to rebuild the Globe after itburns down during a performance of HenryVIII

Also from Shakespearersquos Globe are twoinnovative video experiences created forchildren aged five to 11 e first Exploring

Shakespeare features two boys on a tour ofthe Globe theatre who sneak off to explorebackstage e video illustrates four plays

using short animations that are keyedto things the boys find backstage etechnology combines live action film andanimation to create an interactive touchablegame Filled with mini-games quizzes andinteresting facts about Shakespeare the gameallows players to click through the narrativeor to stop and learn more as they go along

e second video called Staging It usesthe same technology as the first film but thistime is for the 11-16 age group In this gamee Globe has filmed two actors performingfamous duologues from A MidsummerNightrsquos Dream and Macbeth on the Globestage Rather than shoot it once the actorshave performed their lines in diff erent ways(happy flirtatious defensive and so on)creating several diff erent clips per linePlayers can watch each of the clips and addtheir choice to a dynamic storyboard tobuild up their final scene Impressively theplatform allows for up to 1000000 diff erentcombinations of clips

Apps and Mini-GamesItrsquos when you start to look outside of therealm of popular video game platformslike Xbox or Playstation that Shakespeare

Silent Hill 3 Brush upyour Shakespeare ifyou want to survive

Hemmingsrsquo PlayCompany fromShakespearersquosGlobe

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Shakespeare video games

50 SHAKESPEARE magazine

really starts to pop up wherever you looke ubiquity of Shakespeare is especiallynoticeable when you start to look at apps andmini-games designed for phones and tablets

In 2012 Big Fish Games released aniPhone and iPad game called Hamlet that featured all the main characters ofShakespearersquos play but transposed them intoa save-the-princess narrative puzzle game A time traveller lands in Denmark andaccidentally kills Hamlet and so players mustcomplete his journey for him saving Opheliaand killing Claudiuse Shakespeareancontent is minimal and heavily adapted andyet it fits with the puzzle format in whichShakespeare tends to be found in videogamese Chronicles of Shakespeare Romeo amp

Juliet ande Chronicles of Shakespeare A Midsummer Nightrsquos Dream are lusciously-illustrated puzzle games for the PC In themplayers act as one of the characters from theplays gathering items and clues through aShakespearean environment

Among the literally thousands of appsrelated to Shakespeare that can be found forthe iPad or Android tablet are

e Shakespearean Insult Creator which generates invectives drawn from a wholly Shakespearean vocabulary So nexttime you want to call someone a jerk trysomething more like ldquoou fusty follyfallenfustilarianrdquo

e Shakespeare Translator whichtranslates ldquonormal English words and phrasesinto the words of Shakespeare himselfrdquo

e Shakespeare Fortune Cookie which provides short quotes from the plays

and a small trivia game Shakespeare or Die a game that

scrambles the words of famous quotationsfrom the plays and asks you to identify theplay and character who spoke the line If youmake a mistake however beware the witchesese apps are either explicitly games or

they are coming out of a game-like impulse tomake Shakespeare more accessible to everyone with an internet connection

Brave New WorldsIn a world where Shakespeare is an industrycounted in the millions of dollars per yearit is so easy to forget that Shakespearersquos playsare just that ndash playsere is a sense of joyand fun and happiness embedded in theexperience of watching them Games are oneof the ways that people over the centuries

have tried to recapture that elusive sense ofplayfulness within Shakespeare So it makesperfect sense that now with the advent ofdigital technologies Shakespeare is movinginto the digital world with a vengeance

From big studio games likee ElderScrolls to small apps that can be downloadedfor free from talking bears to immersiveperformance experiences Shakespeare iseverywhere in video games Rather than beingan undiscovered country into which the Bard

is only just beginning to emerge games havein fact engaged with Shakespeare and his works for hundreds of years And they willprobably continue to do so for hundreds ofyears to come

rsquoSpeare is a scrollingarcade-stylegame with addedShakespeare trivia

Hamlet is aShakespeare-themed puzzle fromBig Fish Games

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Meet thy makers

Helen Mears fell into bardolatryduring her teenage years and has

never recovered She is a volunteersteward at Shakespearersquos Globe

which ensures a regular diet of theBard She teaches English Film andMedia at Suffolk New College and isa specialist in teaching Shakespeareusing active methods Her favouriteShakespearean actor is Jamie Parker

and her favourite plays are the SecondHistory Tetralogy She hopes to

finish her Masters in the AdvancedTeaching of Shakespeare very soonFind her on Twitter hipster_hels

Paul F Cockburn is an Edinburgh-based freelance magazine journalist who specialises in writing about

arts and culture equality issues andpopular science Hersquos sufficiently

grey-haired for his English Literaturetraining to have sort of overlapped

with The BBC Television Shakespeareproject saving at least some of the

plays from death by academiaFind him on Twitter paulfcockburn

Jen Richardson first fell in love withShakespeare as a 15-year-old schoolgirl

ldquoHe got under my skin and hersquos still theretodayrdquo After training with a Manchester-based drama tutor she went on to pursuean acting career Drama remains a greatinterest but her focus is now on sharing

her passion for Shakespeare throughher writing In her spare time Jen is

generally down in Stratford-upon-Avonsitting on her favourite bench behind

Holy Trinity ChurchFind her on Twitter The_JenJen

Andrew Bretz is a sessional instructorof English Literature and Drama

specialising in early modern dramaHe has taught at Wilfrid LaurierUniversity the University of Guelph

Brock University and McMasterUniversity For the past two years he

has taught a special summer intensiveat Ontariorsquos Stratford Festival His PhDdissertation was on the representationof sexual violence on the early modern

stage Find him on TwitterAndrewBretz001

Just some of the contributors to this issue of Shakespeare Magazine

Rosalind Lyons is a painter whohas exhibited widely in both mixedand solo shows with work in UK

and international private collections A life-long love of Shakespeare isreflected in many of her paintings

and a particular recent focus isShakespearersquos Globe theatre where shespent a period as artist-in-residenceShe is currently studying for a PhD

in Painting and ShakespeareanTheatre at Anglia Ruskin University

in CambridgeFind her on Twitter roslyons

52 SHAKESPEARE magazine

Contributors

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Page 39: Shakespeare Magazine 08

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Scotland Shakes

SHAKESPEARE magazine 39

Bonnie Prince

Brian Fergusonas Hamlet in theCitizens Theatre

production Photoby Tim Morozzo

Billy William Shakespeare is undoubtedly Englandrsquos

Bard But how is he viewed north of the border

Our Caledonian correspondent surveys the state

of Shakespeare in Scotland and meets esteemed

outdoor theatre company Bard in the Botanics

Words Paul F Cockburn

T owards the end of May thisyear a BBC Scotland afternoon

news bulletin surprisinglyturned its attention to aforthcoming production of

ldquoone of William Shakespearersquos best lovedplaysrdquo ndash A Midsummer Nightrsquos DreamHowever this particular production wasnrsquotconsidered newsworthy because it came froman amateur group based in Dumfries andGalloway Not even that the CrossmichaelDrama Club were one of just seven amateurScottish groups taking part in the Royal

Shakespeare Companyrsquos Open Stages project which aims to help amateur companies

extend their repertoiresNo the lsquohookrsquo was how this newproduction was Shakespeare ldquobut no asyou micht ken itrdquo Because it had beenreimagined in Scots as A MidsimmerNichtrsquos Dreme

As it happens writer John Burns saysthat his principle reason for translating AMidsimmer Nichtrsquos Dreme was simply theintuition that it being in Scots would workto the benefit of the production ldquoItrsquos not

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Scotland Shakes

40 SHAKESPEARE magazine

so much that 16th century English canrsquot docertain things more that using Scots brings itcloser to a Scottish audience and to audiences who might think Shakespeare too fancyrdquo hesays ldquoI feel too that Scots can catch the sheerphysical power of Shakespearersquos language He writes lines you really feel physically when

you say them out loud My intention was touse Scots to produce a text that was actableand which would be accessible and enjoyablefor the audience and the Scots was a majorpart of thatrdquo

Arguably translating Shakespeare intoScots ndash viewed by many as a distinct languagefrom English ndash is just one way of finding thecontinued relevancies of Shakespearersquos writing with the here and now Certainly John Burns was keen to see if Scots ldquocould match the way

Shakespeare switches tonehellip from broad attimes bawdy humour to moments that aremore serious or even sinisterrdquo

Yet there is a wider perspective whether wersquore discussing translation into Scots orsaying Shakespearersquos words with a Scottishaccent Willy Maley and Andrew Murphyin their introduction to Shakespeare andScotland (published by Manchester UniversityPress in 2004) go as far as describing thetranslation of Shakespearersquos Macbeth into

Scots as ldquoa patriotic actrdquo not least becauseof ldquothe political commitment implicit intranslating from English to Scots reversing

the dominant dubbing practice infi

lmsrdquoGlasgow-based novelist and playwright Alan Bissett ndash who actively campaigned fora Yes vote during last yearrsquos IndependenceReferendum ndash has since written about howsince the 1970s Scottish theatre had ldquoadeep engagement with the shifting beastof Scottish politicsrdquo Although Bissett wasfocusing primarily on original works byScottish playwrights and directors itrsquos worthpointing out that Shakespeare ndash despite therebeing absolutely no evidence to prove he evertravelled north of Carlisle ndash has played hisown part in this

As Maley and Murphy point outldquoScotlandhellip never had precisely the samerelationship with the Bard as England hasbut has experienced a fraught process ofappropriation incorporation and resistancerdquoIn part this is because Shakespeare ndash in hislatter career ndash was among the first lsquoBritishrsquo writers Many of his later plays ndash Cymbeline King Lear even Hamlet ndash were produced

A tartan-cladAntipholus andDromio in Bard inthe Botanicsrsquo TheComedy of Errors

Brian FergusonrsquosHamlet CitizensTheatre productionPhoto by TimMorozzo

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under the patronage of Scotlandrsquos King JamesVI (aka James I of England) Each in theirown way can be said to touch on ldquothe matterof Britainrdquo the complex relationship between

the constituent elements of Jamesrsquos newlsquounitedrsquo kingdom which the Stuart monarch was determined to see joined into oneat never quite happened of course

Even after the 1707 Act of UnionScotland retained its own legal educationaland religious systems along with anaccompanying sense of Scottish identity ndash which survived even the height of the Britishempire Yet from the 1970s on there havebeen notable changes in how Shakespeareis treated by Scotlandrsquos producing theatrecompanies Several years ago GlasgowrsquosCitizenseatre delivered a powerful Romeoand Juliet in part because of their decision toset the action in a present-day sectarian Westof Scotland ndash with accents to match

ldquoEnglish-accented Shakespeare carriesa specific resonance in Scotland one thatdirectors usually choose to avoidrdquo pointsout Mark Fisher a freelance journalist criticand author of the forthcoming book How toWrite Abouteatre

ldquoIrsquom not sure exactly when attitudesstarted to change but Irsquod say the argumentin favour of Scottish-accented productionshad been pretty much won by the 1990sBy that time companies such as Raindogand directors such as Hamish Glen hadbeen making a point of casting very Scottishproductions of Shakespearerdquo

One example of how things hadprogressed even by 1992 was the late KennyIrelandrsquos production of A Midsummer

Nightrsquos Dream his first as Artistic Directorat Edinburghrsquos Royal Lyceum ldquoHe castthe mechanicals with Scottish accents andeveryone else with English accentsrdquo MarkFisher explains ldquois I said in my review wasa fundamental error ndash or some such phrasee message it sent out was that people withScottish accents were foolish figures of fun whereas people with English accents wereserious figures of respect

ldquoIreland reacted furiously to my review

and made the case that he had based thecasting of the mechanicals around (the actor) Andy Gray who has a Scottish accent Inother words the meaning I inferred hadnot been deliberate I think itrsquos true to sayhowever that Ireland never cast a Shakespearelike that againrdquo

Gordon Barr is Artistic Director of

Glasgow-based Bard in the BotanicsScotlandrsquos only professional Shakespearecompany (see following pages)

ldquoWersquove never gone out of our way tomake Scottish versions of these texts norhave we gone out of our way to have classicaltraditional voicesrdquo he says ldquoMost of our coreactors have made their careers up here so wethink of them as Scottish actors

ldquoat is important to us to not overlylook outwards for the acting company As

much as possible we work with people who are based in Scotland Wersquore regularlyproducing Shakespeare here and we want tobe a part of the training to ensure that there isa range of strong classical actors hererdquo

Citizens Theatrewwwcitzcouk

Owen Whitehawas the Fool andDavid Hayman asLear in CitizensTheatrersquos King Lear Photo by TimMorozzo

Scotland Shakes

SHAKESPEARE magazine 41

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Bard in theBotanicsrsquo As You Like

It takes Rosalind andOrlando into theopen air

ldquoTouring is something that we have wanted to do foryears but was somethingthat we could not afford

to do without fundingrdquo says Gordon Barr Artistic Director of Scotlandrsquos only professionaloutdoor Shakespeare festival Bard in theBotanics If therersquos any irony attached tothe companyrsquos first major tour of Scotland which took place in early 2015 itrsquos that theperformances of their acclaimed Romeo and Juliet ndash featuring a cast of five ndash were playedexclusively indoors

ldquoNobody is touring classical theatre in

Scotland at the minute so itrsquos importantto usrdquo Barr adds ldquoOur work is so muchabout accessibility One of the joys of beingoutdoors is that people come to see the work who wouldnrsquot buy a ticket for a theatre Ifyou can bring a picnic sit out on the grass while watching the show it feels easier moreaccessible But people canrsquot come from Thursoto Glasgow for a night just to see a productionof Shakespeare They should be able to see itin Thurso So that is kind of where the urge totour came fromrdquo

Bard in the Botanics has presented outdoorShakespeare within the grounds of GlasgowrsquosBotanic Gardens since 2003 This yearrsquoslsquoUnlikely Wondersrsquo season presented newproductions of Loversquos Labourrsquos Lost The Merchant of Venice Richard II and A Midsummer Nightrsquos Dream in lsquoreprsquo between24 June and 1 August

The companyrsquos founder Scott PalmerBarr explains had done a lot of his training atthe Oregon Shakespeare Festival one of the

biggest in North America ldquoWith the kindof drive and enthusiasm that only Americanshave he managed to convince the entire cityof Glasgow that outdoor Shakespeare would work and that the weather wasnrsquot going to be

a problemrdquoTwo years later Palmer moved on and Barr

ndash originally involved as a director ndash succeededhim as Artistic Director ldquoIf anyone then hadsaid that I would end up spending 12 yearsrunning an outdoor Shakespeare festival I wouldnrsquot have believed themrdquo he says in hisoffice hidden behind some of the Botanicsrsquogardening sheds ldquoI very quickly fell in love with it once I started working here Despiteall the trials and tribulations that outdoortheatre in Scotland brings with it therersquos just

something magical and special about it Itrsquos a very close-knit company and thatrsquos sort of keptus all here as long as we have beenrdquo

While the annual summer season ofShakespeare plays in the Botanics will remainat the centre of what the company does ndashldquoOtherwise Bard in the Botanics becomesa rather strange namerdquo ndash Barr is very much

Outof theGarden

This year has seen Glasgowrsquos Bard in the Botanicsdo something completely unexpected They wentout on a tour of ndash whisper it ndash indoor venueshellip

Scotland Shakes

42 SHAKESPEARE magazine

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Scotland Shakes

SHAKESPEARE magazine 43

focused on building on the touring side ldquoBecause it was our first ever tour we

did end up taking Romeo and Juliet to theestablished Scottish touring circuitrdquo he addsldquoIt takes a while to build up relationships with the smaller venues thatrsquos going to bean ongoing process for us Even so we weretaking Romeo and Juliet to places like Mulland Stranraer ndash communities and venues thathavenrsquot had a lot of classical theatre comingthrough themrdquo

The choice of play was deliberate too ldquoIt was a production that was ready to go whichhad received five star reviews and sold out itsextended run in the Botanics in 2012 So weknew that the work was good but therersquos nodoubt that for a first tour we wanted to makeit easier for the venues to sell it Most venuesknow they can find an audience for Romeo and Juliet rdquo

In time he hopes that audiences aroundthe rest of Scotland will come to trust the Bardin the Botanics name sufficiently to take on theless familiar plays

ldquoYou just donrsquot know how quickly acommunity is going to turn out for Henry IV yetrdquo he says ldquoHopefully three or four toursdown the line theyrsquore going to turn out forBard in the Botanics ndash and if it happens to be

Henry IV well thatrsquos greatrdquoGiven their reimagining of A MidsummerNightrsquos Dream as a 1920s burlesque musicalis there a particular Bard in the Botanicsapproach to Shakespeare

ldquoOur kind of unofficial motto is lsquoBe BoldBe Braversquordquo Barr says ldquoIf wersquore continuingto stage these plays around 400 years afterShakespearersquos death I think therersquos an urgencyto ask lsquoWhyrsquo It is important to questionlsquoWhat is the story that we want to tellrsquo I wantto see how these plays intersect with historyand todayrsquos society not to present museumpieces

ldquoItrsquos always with an eye to try to releasesomething thatrsquos within the textrdquo Barrinsists ldquoWersquore not remotely interested ininnovation for innovationrsquos sake The playsare masterpieces thatrsquos essentially why wersquorestill doing them 400 years later But to revealsomething thatrsquos unexpected or new thatrsquosimportant to usrdquo

Bard in the Botanics

wwwbardinthebotanicscouk

Rosalind and Audreyin the forest Bardin the Botanicsrsquo As You Like It

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Shakespeare at the Tobacco Factory stf 2016 Seasonco-production with Tobacco Factory Theatres

HAMLETBy William Shakespeare

Directed by Andrew Hilton

Main run Thu 11 February ndash Sat 26 March 2016

In repertoire with Allrsquos Well That Ends WellMon 25 ndash Wed 27 April Sat 30 April 2016

The most famous play in world drama Hamlet

turns a new face to every decade So many

elements - political madness sex murder ndash all

brought together in a drama that is both a thriller

and the profoundest meditation on our human

condition

ldquoThrilling workrdquo The Guardian on Romeo amp Juliet

ldquoBullseyerdquo WhatsOnStage on Romeo amp Juliet

Shakespeare at the Tobacco Factory Friends Priority Booking opens Wed 23 September 10am

wwwstf-theatreorguk

Tobacco Factory Theatres Members Priority Booking opens Wed 16 September 10am

wwwtobaccofactorytheatrescom

Public Booking opens Wed 30 September 10am

Tobacco Factory Box Office 0117 902 0344

ALLrsquoS WELL THAT ENDS WELLBy William Shakespeare

Directed by Andrew Hilton

Main run Thu 31 March ndash Sat 23 April 2016

In repertoire with Hamlet

Thu 28 ndash Fri 29 April Sat 30 April

A young woman using skills bequeathed herby her father saves the French Kingrsquos life and

is rewarded with the right to choose her own

husband But what if the chosen one wonrsquot play

the game How can she get him into bed How

can she make him love her

ldquo There is something approaching real

magic hererdquo The Arts Desk on The School for Scandal

P h o t o s M

a r k D o u e t

Dorothea MyerBennett in Richard III

Benjamin Whitrowand Julia Hills in The

School For Scandal

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Having conquered

Hollywood and vanquished

the global entertainment

industry video games now

on our culture So where

does the Bard stand in all of

this We sent a Shakespeare

scholar to investigatehellip

Words Andrew Bretz

Shakespeare video games

46 SHAKESPEARE magazine

T eGamersquos A oot Silent Hill is one

big-name gamewhich includesShakespearereferences

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Shakespeare video games

SHAKESPEARE magazine 47

German cardboard Macbeth datingfrom the early1800s

Hamlet reimaginedRyan Northrsquos To Be

Or Not To Be

W

hen you walk intothe wood panelled Victorian Gothicismof the Gail Kern Paster

Reading Room at theFolger Shakespeare Library in WashingtonDC video games are probably the lastthing on your mind Buried deep withinthe archives however are a set of fragilecardboard figures printed in Germany in theearly 1800s representing each of the maincharacters of Macbeth

Nineteenth century German children would play with these figures on smallcardboard stages no bigger than a dollhouseey could replicate the story as it was toldin Shakespeare or use their imagination tochange the ending letting Lady Macbethsurvive and bringing Duncan back from thedead if they so chosee limits of the game were the limits of their imagination

Today the lsquogamificationrsquo of Shakespeareis a big business from Ryan Northrsquos choose-your-own-adventure edition of Hamlet To Be Or Not To Be to IDW Gamesrsquosupcoming Kill Shakespeare board gamebased on the comic of the same name

Gamifying Shakespeare is filtering intoschools libraries and the theatrical worldas well with the University of California atDavis the Stratford Festival in Ontario theGlobeeatre in London and the LondonMetropolitan Archives all experimenting with video game elements in exhibits productionsand research

Why video games In a sense this is thelogical next step in the media development ofShakespeare Hersquos everywhere in other media

books movies merchandise But videogamese answer for that depends on whoyou ask

StorytellingOccasionally individuals or publishinghouses develop video games that try to tellthe story of say Hamlet yet this is relativelyrare One example would be Elsinore a time-looping narrative adventure game set in the world of the play Players play the game as

Ophelia who wakes up knowing that in fourdays the entire court will be dead and shemust do something to stop ite problemis that she is stuck in a time loop reliving thesame four days over and over againat said Shakespearersquos presence in the

video game industry tends to be focused oncitation rather than adaptation of the playsat is video games for Xbox Playstationand other popular gaming systems often

just cite Shakespearersquos plays as a part of acommon cultural heritageese games donrsquotrestage say Hamlet but they quote the playIn these cases Shakespeare is used to establisha point of identification for the audience His writing tells the audience something aboutthe character or the situation

Given that audiences are supposedto be able to identify the quotations asShakespearean it is unsurprising that Hamlet is the most popular text for game designers to

cite Ine Elder Scrolls Online for instancea merchant NPC (non-player character)quotes Polonius when players interact sayingldquoNeither a borrower nor a lender berdquoe words establish the NPCrsquos role as a merchant while fitting the medieval world of thegame In the game LA Noire upon pickingup a fake shrunken head at a crime scene adetective leaps into high melodrama withldquoAlas poor Yorick I knew him Horatiordquoequotation and the clever voice acting establish

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Shakespeare video games

48 SHAKESPEARE magazine

the characterrsquos strait-laced yet macabre senseof humour

Sometimes citing Shakespeare is a partof a critique of a larger theme In the game Mass E ff ect the Elcor are a race of elephantinealiens who preface all statements with adescription of the emotion they are feelingand who speak in a slow monotonous drone As players interact with the expansive worldthey can discover a number of advertisementsfor an all-Elcor Hamlet e idea of theElcor actor ndash the ultimate in a flat woodenperformer ndash having to preface ldquoTo be or not

to berdquo with ldquomorose ruminationrdquo goes beyondthe simple humour of a bad Shakespeareperformance It subtly asks what it is aboutacting (and especially voice acting) that isvaluable

Shakespeare can appear in video gamesnot merely as a marker or contextualisationtool but as a part of a puzzle For example inthe game Silent Hill 3 players must arrange aset of Shakespeare anthologies on a bookshelfin an abandoned shopping mall in order to

proceed in the game At the hardest levelthe puzzle clue takes the form of a poemthat references all the major tragedies Romeoand Juliet King Lear Macbeth Othello andof course Hamlet e bloody nature of thetragedies fits with the bloody nature of theSilent Hill series of games which fall into thesurvival horror genre

Popular video games have also servedas the inspiration for games that engage with Shakespeare in a more direct way For

example Daniel Fischlin at the Universityof Guelph in Ontario Canada led a teamthat created a Flash game called rsquoSpeare Itrsquos

a scrolling arcade-style game suggesting thersquo80s hit Galaga which sees players identifyingand navigating through a series of enemies who turn into words upon being destroyede player progresses through the levelsby collecting the correct words to createShakespearean quotes learning Shakespeareantrivia along the way

ImmersionOne of the most exciting aspects of videogames is the ability to immerse the player inthe world of the game in a way that othermedia simply cannot do Being able to walkaround Prosperorsquos cell Julietrsquos balcony orto stand before the ghost of Hamletrsquos fatheras he cries out ldquoList list O listrdquo ndash theseexperiences are made possible through videogame technology

Students of Scenic Arts at the Universityof Hildesheim in Germany created Projekt ARIEL or SturmMOD in 2008 using a lsquomodrsquo(or modification) to the engine that runs

the game Far Cry 1 e performance artproject allowed users to experience Prosperorsquosisland interacting with certain parts andexploring others Players could walk aroundan imaginative rendition of Prosperorsquos cell and witness or interact with elements of the playincluding diff erent characters like CalibanProspero and Miranda

Four days to savethe Danish court

Elsinore

Another Hamlet reference this timein LA Noire

7172019 Shakespeare Magazine 08

httpslidepdfcomreaderfullshakespeare-magazine-08 4956

Shakespeare video games

SHAKESPEARE magazine 49

Gina Bloom at the University of Californiaat Davis is presently spearheading a projectthat will be demonstrated in the lobby of theStratford Festival theatre in Ontario Canadathis summere project Play the Knave AShakespeare Performance Videogame lets usersdesign a virtual performance space and thenperform a scene from a Shakespeare playinhabiting this constructed space with anavatar As a Davis insider explains ldquoWe use akinect motion capture camera to capture theuserrsquos skeletal data so that players use theirentire bodies to control their avatarrsquos gesturesonscreen all the while reciting the lines from

Shakespearersquos scenerdquo is literally immersesthe players in the scene

Shakespearersquos Globe eatre in Londontook another tactic regarding immersionin the production of the game HemmingsrsquoPlay Company Hosted on the Playgroundportion of the Globersquos website and thusaimed at an audience of children the gamehas players taking on the role of Hemmingsan Elizabethan bear who leads a troupe oftheatrical animals such as Kit the Cat Dekker

the Dog and Slye the Foxe turn-based game leads players through

the vagaries of Elizabethan theatre practicefrom patronage to lost props and the plagueBy the end of the game players must earnenough money to rebuild the Globe after itburns down during a performance of HenryVIII

Also from Shakespearersquos Globe are twoinnovative video experiences created forchildren aged five to 11 e first Exploring

Shakespeare features two boys on a tour ofthe Globe theatre who sneak off to explorebackstage e video illustrates four plays

using short animations that are keyedto things the boys find backstage etechnology combines live action film andanimation to create an interactive touchablegame Filled with mini-games quizzes andinteresting facts about Shakespeare the gameallows players to click through the narrativeor to stop and learn more as they go along

e second video called Staging It usesthe same technology as the first film but thistime is for the 11-16 age group In this gamee Globe has filmed two actors performingfamous duologues from A MidsummerNightrsquos Dream and Macbeth on the Globestage Rather than shoot it once the actorshave performed their lines in diff erent ways(happy flirtatious defensive and so on)creating several diff erent clips per linePlayers can watch each of the clips and addtheir choice to a dynamic storyboard tobuild up their final scene Impressively theplatform allows for up to 1000000 diff erentcombinations of clips

Apps and Mini-GamesItrsquos when you start to look outside of therealm of popular video game platformslike Xbox or Playstation that Shakespeare

Silent Hill 3 Brush upyour Shakespeare ifyou want to survive

Hemmingsrsquo PlayCompany fromShakespearersquosGlobe

7172019 Shakespeare Magazine 08

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Shakespeare video games

50 SHAKESPEARE magazine

really starts to pop up wherever you looke ubiquity of Shakespeare is especiallynoticeable when you start to look at apps andmini-games designed for phones and tablets

In 2012 Big Fish Games released aniPhone and iPad game called Hamlet that featured all the main characters ofShakespearersquos play but transposed them intoa save-the-princess narrative puzzle game A time traveller lands in Denmark andaccidentally kills Hamlet and so players mustcomplete his journey for him saving Opheliaand killing Claudiuse Shakespeareancontent is minimal and heavily adapted andyet it fits with the puzzle format in whichShakespeare tends to be found in videogamese Chronicles of Shakespeare Romeo amp

Juliet ande Chronicles of Shakespeare A Midsummer Nightrsquos Dream are lusciously-illustrated puzzle games for the PC In themplayers act as one of the characters from theplays gathering items and clues through aShakespearean environment

Among the literally thousands of appsrelated to Shakespeare that can be found forthe iPad or Android tablet are

e Shakespearean Insult Creator which generates invectives drawn from a wholly Shakespearean vocabulary So nexttime you want to call someone a jerk trysomething more like ldquoou fusty follyfallenfustilarianrdquo

e Shakespeare Translator whichtranslates ldquonormal English words and phrasesinto the words of Shakespeare himselfrdquo

e Shakespeare Fortune Cookie which provides short quotes from the plays

and a small trivia game Shakespeare or Die a game that

scrambles the words of famous quotationsfrom the plays and asks you to identify theplay and character who spoke the line If youmake a mistake however beware the witchesese apps are either explicitly games or

they are coming out of a game-like impulse tomake Shakespeare more accessible to everyone with an internet connection

Brave New WorldsIn a world where Shakespeare is an industrycounted in the millions of dollars per yearit is so easy to forget that Shakespearersquos playsare just that ndash playsere is a sense of joyand fun and happiness embedded in theexperience of watching them Games are oneof the ways that people over the centuries

have tried to recapture that elusive sense ofplayfulness within Shakespeare So it makesperfect sense that now with the advent ofdigital technologies Shakespeare is movinginto the digital world with a vengeance

From big studio games likee ElderScrolls to small apps that can be downloadedfor free from talking bears to immersiveperformance experiences Shakespeare iseverywhere in video games Rather than beingan undiscovered country into which the Bard

is only just beginning to emerge games havein fact engaged with Shakespeare and his works for hundreds of years And they willprobably continue to do so for hundreds ofyears to come

rsquoSpeare is a scrollingarcade-stylegame with addedShakespeare trivia

Hamlet is aShakespeare-themed puzzle fromBig Fish Games

7172019 Shakespeare Magazine 08

httpslidepdfcomreaderfullshakespeare-magazine-08 5156

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httpslidepdfcomreaderfullshakespeare-magazine-08 5256

Meet thy makers

Helen Mears fell into bardolatryduring her teenage years and has

never recovered She is a volunteersteward at Shakespearersquos Globe

which ensures a regular diet of theBard She teaches English Film andMedia at Suffolk New College and isa specialist in teaching Shakespeareusing active methods Her favouriteShakespearean actor is Jamie Parker

and her favourite plays are the SecondHistory Tetralogy She hopes to

finish her Masters in the AdvancedTeaching of Shakespeare very soonFind her on Twitter hipster_hels

Paul F Cockburn is an Edinburgh-based freelance magazine journalist who specialises in writing about

arts and culture equality issues andpopular science Hersquos sufficiently

grey-haired for his English Literaturetraining to have sort of overlapped

with The BBC Television Shakespeareproject saving at least some of the

plays from death by academiaFind him on Twitter paulfcockburn

Jen Richardson first fell in love withShakespeare as a 15-year-old schoolgirl

ldquoHe got under my skin and hersquos still theretodayrdquo After training with a Manchester-based drama tutor she went on to pursuean acting career Drama remains a greatinterest but her focus is now on sharing

her passion for Shakespeare throughher writing In her spare time Jen is

generally down in Stratford-upon-Avonsitting on her favourite bench behind

Holy Trinity ChurchFind her on Twitter The_JenJen

Andrew Bretz is a sessional instructorof English Literature and Drama

specialising in early modern dramaHe has taught at Wilfrid LaurierUniversity the University of Guelph

Brock University and McMasterUniversity For the past two years he

has taught a special summer intensiveat Ontariorsquos Stratford Festival His PhDdissertation was on the representationof sexual violence on the early modern

stage Find him on TwitterAndrewBretz001

Just some of the contributors to this issue of Shakespeare Magazine

Rosalind Lyons is a painter whohas exhibited widely in both mixedand solo shows with work in UK

and international private collections A life-long love of Shakespeare isreflected in many of her paintings

and a particular recent focus isShakespearersquos Globe theatre where shespent a period as artist-in-residenceShe is currently studying for a PhD

in Painting and ShakespeareanTheatre at Anglia Ruskin University

in CambridgeFind her on Twitter roslyons

52 SHAKESPEARE magazine

Contributors

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Page 40: Shakespeare Magazine 08

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Scotland Shakes

40 SHAKESPEARE magazine

so much that 16th century English canrsquot docertain things more that using Scots brings itcloser to a Scottish audience and to audiences who might think Shakespeare too fancyrdquo hesays ldquoI feel too that Scots can catch the sheerphysical power of Shakespearersquos language He writes lines you really feel physically when

you say them out loud My intention was touse Scots to produce a text that was actableand which would be accessible and enjoyablefor the audience and the Scots was a majorpart of thatrdquo

Arguably translating Shakespeare intoScots ndash viewed by many as a distinct languagefrom English ndash is just one way of finding thecontinued relevancies of Shakespearersquos writing with the here and now Certainly John Burns was keen to see if Scots ldquocould match the way

Shakespeare switches tonehellip from broad attimes bawdy humour to moments that aremore serious or even sinisterrdquo

Yet there is a wider perspective whether wersquore discussing translation into Scots orsaying Shakespearersquos words with a Scottishaccent Willy Maley and Andrew Murphyin their introduction to Shakespeare andScotland (published by Manchester UniversityPress in 2004) go as far as describing thetranslation of Shakespearersquos Macbeth into

Scots as ldquoa patriotic actrdquo not least becauseof ldquothe political commitment implicit intranslating from English to Scots reversing

the dominant dubbing practice infi

lmsrdquoGlasgow-based novelist and playwright Alan Bissett ndash who actively campaigned fora Yes vote during last yearrsquos IndependenceReferendum ndash has since written about howsince the 1970s Scottish theatre had ldquoadeep engagement with the shifting beastof Scottish politicsrdquo Although Bissett wasfocusing primarily on original works byScottish playwrights and directors itrsquos worthpointing out that Shakespeare ndash despite therebeing absolutely no evidence to prove he evertravelled north of Carlisle ndash has played hisown part in this

As Maley and Murphy point outldquoScotlandhellip never had precisely the samerelationship with the Bard as England hasbut has experienced a fraught process ofappropriation incorporation and resistancerdquoIn part this is because Shakespeare ndash in hislatter career ndash was among the first lsquoBritishrsquo writers Many of his later plays ndash Cymbeline King Lear even Hamlet ndash were produced

A tartan-cladAntipholus andDromio in Bard inthe Botanicsrsquo TheComedy of Errors

Brian FergusonrsquosHamlet CitizensTheatre productionPhoto by TimMorozzo

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under the patronage of Scotlandrsquos King JamesVI (aka James I of England) Each in theirown way can be said to touch on ldquothe matterof Britainrdquo the complex relationship between

the constituent elements of Jamesrsquos newlsquounitedrsquo kingdom which the Stuart monarch was determined to see joined into oneat never quite happened of course

Even after the 1707 Act of UnionScotland retained its own legal educationaland religious systems along with anaccompanying sense of Scottish identity ndash which survived even the height of the Britishempire Yet from the 1970s on there havebeen notable changes in how Shakespeareis treated by Scotlandrsquos producing theatrecompanies Several years ago GlasgowrsquosCitizenseatre delivered a powerful Romeoand Juliet in part because of their decision toset the action in a present-day sectarian Westof Scotland ndash with accents to match

ldquoEnglish-accented Shakespeare carriesa specific resonance in Scotland one thatdirectors usually choose to avoidrdquo pointsout Mark Fisher a freelance journalist criticand author of the forthcoming book How toWrite Abouteatre

ldquoIrsquom not sure exactly when attitudesstarted to change but Irsquod say the argumentin favour of Scottish-accented productionshad been pretty much won by the 1990sBy that time companies such as Raindogand directors such as Hamish Glen hadbeen making a point of casting very Scottishproductions of Shakespearerdquo

One example of how things hadprogressed even by 1992 was the late KennyIrelandrsquos production of A Midsummer

Nightrsquos Dream his first as Artistic Directorat Edinburghrsquos Royal Lyceum ldquoHe castthe mechanicals with Scottish accents andeveryone else with English accentsrdquo MarkFisher explains ldquois I said in my review wasa fundamental error ndash or some such phrasee message it sent out was that people withScottish accents were foolish figures of fun whereas people with English accents wereserious figures of respect

ldquoIreland reacted furiously to my review

and made the case that he had based thecasting of the mechanicals around (the actor) Andy Gray who has a Scottish accent Inother words the meaning I inferred hadnot been deliberate I think itrsquos true to sayhowever that Ireland never cast a Shakespearelike that againrdquo

Gordon Barr is Artistic Director of

Glasgow-based Bard in the BotanicsScotlandrsquos only professional Shakespearecompany (see following pages)

ldquoWersquove never gone out of our way tomake Scottish versions of these texts norhave we gone out of our way to have classicaltraditional voicesrdquo he says ldquoMost of our coreactors have made their careers up here so wethink of them as Scottish actors

ldquoat is important to us to not overlylook outwards for the acting company As

much as possible we work with people who are based in Scotland Wersquore regularlyproducing Shakespeare here and we want tobe a part of the training to ensure that there isa range of strong classical actors hererdquo

Citizens Theatrewwwcitzcouk

Owen Whitehawas the Fool andDavid Hayman asLear in CitizensTheatrersquos King Lear Photo by TimMorozzo

Scotland Shakes

SHAKESPEARE magazine 41

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Bard in theBotanicsrsquo As You Like

It takes Rosalind andOrlando into theopen air

ldquoTouring is something that we have wanted to do foryears but was somethingthat we could not afford

to do without fundingrdquo says Gordon Barr Artistic Director of Scotlandrsquos only professionaloutdoor Shakespeare festival Bard in theBotanics If therersquos any irony attached tothe companyrsquos first major tour of Scotland which took place in early 2015 itrsquos that theperformances of their acclaimed Romeo and Juliet ndash featuring a cast of five ndash were playedexclusively indoors

ldquoNobody is touring classical theatre in

Scotland at the minute so itrsquos importantto usrdquo Barr adds ldquoOur work is so muchabout accessibility One of the joys of beingoutdoors is that people come to see the work who wouldnrsquot buy a ticket for a theatre Ifyou can bring a picnic sit out on the grass while watching the show it feels easier moreaccessible But people canrsquot come from Thursoto Glasgow for a night just to see a productionof Shakespeare They should be able to see itin Thurso So that is kind of where the urge totour came fromrdquo

Bard in the Botanics has presented outdoorShakespeare within the grounds of GlasgowrsquosBotanic Gardens since 2003 This yearrsquoslsquoUnlikely Wondersrsquo season presented newproductions of Loversquos Labourrsquos Lost The Merchant of Venice Richard II and A Midsummer Nightrsquos Dream in lsquoreprsquo between24 June and 1 August

The companyrsquos founder Scott PalmerBarr explains had done a lot of his training atthe Oregon Shakespeare Festival one of the

biggest in North America ldquoWith the kindof drive and enthusiasm that only Americanshave he managed to convince the entire cityof Glasgow that outdoor Shakespeare would work and that the weather wasnrsquot going to be

a problemrdquoTwo years later Palmer moved on and Barr

ndash originally involved as a director ndash succeededhim as Artistic Director ldquoIf anyone then hadsaid that I would end up spending 12 yearsrunning an outdoor Shakespeare festival I wouldnrsquot have believed themrdquo he says in hisoffice hidden behind some of the Botanicsrsquogardening sheds ldquoI very quickly fell in love with it once I started working here Despiteall the trials and tribulations that outdoortheatre in Scotland brings with it therersquos just

something magical and special about it Itrsquos a very close-knit company and thatrsquos sort of keptus all here as long as we have beenrdquo

While the annual summer season ofShakespeare plays in the Botanics will remainat the centre of what the company does ndashldquoOtherwise Bard in the Botanics becomesa rather strange namerdquo ndash Barr is very much

Outof theGarden

This year has seen Glasgowrsquos Bard in the Botanicsdo something completely unexpected They wentout on a tour of ndash whisper it ndash indoor venueshellip

Scotland Shakes

42 SHAKESPEARE magazine

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Scotland Shakes

SHAKESPEARE magazine 43

focused on building on the touring side ldquoBecause it was our first ever tour we

did end up taking Romeo and Juliet to theestablished Scottish touring circuitrdquo he addsldquoIt takes a while to build up relationships with the smaller venues thatrsquos going to bean ongoing process for us Even so we weretaking Romeo and Juliet to places like Mulland Stranraer ndash communities and venues thathavenrsquot had a lot of classical theatre comingthrough themrdquo

The choice of play was deliberate too ldquoIt was a production that was ready to go whichhad received five star reviews and sold out itsextended run in the Botanics in 2012 So weknew that the work was good but therersquos nodoubt that for a first tour we wanted to makeit easier for the venues to sell it Most venuesknow they can find an audience for Romeo and Juliet rdquo

In time he hopes that audiences aroundthe rest of Scotland will come to trust the Bardin the Botanics name sufficiently to take on theless familiar plays

ldquoYou just donrsquot know how quickly acommunity is going to turn out for Henry IV yetrdquo he says ldquoHopefully three or four toursdown the line theyrsquore going to turn out forBard in the Botanics ndash and if it happens to be

Henry IV well thatrsquos greatrdquoGiven their reimagining of A MidsummerNightrsquos Dream as a 1920s burlesque musicalis there a particular Bard in the Botanicsapproach to Shakespeare

ldquoOur kind of unofficial motto is lsquoBe BoldBe Braversquordquo Barr says ldquoIf wersquore continuingto stage these plays around 400 years afterShakespearersquos death I think therersquos an urgencyto ask lsquoWhyrsquo It is important to questionlsquoWhat is the story that we want to tellrsquo I wantto see how these plays intersect with historyand todayrsquos society not to present museumpieces

ldquoItrsquos always with an eye to try to releasesomething thatrsquos within the textrdquo Barrinsists ldquoWersquore not remotely interested ininnovation for innovationrsquos sake The playsare masterpieces thatrsquos essentially why wersquorestill doing them 400 years later But to revealsomething thatrsquos unexpected or new thatrsquosimportant to usrdquo

Bard in the Botanics

wwwbardinthebotanicscouk

Rosalind and Audreyin the forest Bardin the Botanicsrsquo As You Like It

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Shakespeare at the Tobacco Factory stf 2016 Seasonco-production with Tobacco Factory Theatres

HAMLETBy William Shakespeare

Directed by Andrew Hilton

Main run Thu 11 February ndash Sat 26 March 2016

In repertoire with Allrsquos Well That Ends WellMon 25 ndash Wed 27 April Sat 30 April 2016

The most famous play in world drama Hamlet

turns a new face to every decade So many

elements - political madness sex murder ndash all

brought together in a drama that is both a thriller

and the profoundest meditation on our human

condition

ldquoThrilling workrdquo The Guardian on Romeo amp Juliet

ldquoBullseyerdquo WhatsOnStage on Romeo amp Juliet

Shakespeare at the Tobacco Factory Friends Priority Booking opens Wed 23 September 10am

wwwstf-theatreorguk

Tobacco Factory Theatres Members Priority Booking opens Wed 16 September 10am

wwwtobaccofactorytheatrescom

Public Booking opens Wed 30 September 10am

Tobacco Factory Box Office 0117 902 0344

ALLrsquoS WELL THAT ENDS WELLBy William Shakespeare

Directed by Andrew Hilton

Main run Thu 31 March ndash Sat 23 April 2016

In repertoire with Hamlet

Thu 28 ndash Fri 29 April Sat 30 April

A young woman using skills bequeathed herby her father saves the French Kingrsquos life and

is rewarded with the right to choose her own

husband But what if the chosen one wonrsquot play

the game How can she get him into bed How

can she make him love her

ldquo There is something approaching real

magic hererdquo The Arts Desk on The School for Scandal

P h o t o s M

a r k D o u e t

Dorothea MyerBennett in Richard III

Benjamin Whitrowand Julia Hills in The

School For Scandal

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httpslidepdfcomreaderfullshakespeare-magazine-08 4556

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Having conquered

Hollywood and vanquished

the global entertainment

industry video games now

on our culture So where

does the Bard stand in all of

this We sent a Shakespeare

scholar to investigatehellip

Words Andrew Bretz

Shakespeare video games

46 SHAKESPEARE magazine

T eGamersquos A oot Silent Hill is one

big-name gamewhich includesShakespearereferences

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Shakespeare video games

SHAKESPEARE magazine 47

German cardboard Macbeth datingfrom the early1800s

Hamlet reimaginedRyan Northrsquos To Be

Or Not To Be

W

hen you walk intothe wood panelled Victorian Gothicismof the Gail Kern Paster

Reading Room at theFolger Shakespeare Library in WashingtonDC video games are probably the lastthing on your mind Buried deep withinthe archives however are a set of fragilecardboard figures printed in Germany in theearly 1800s representing each of the maincharacters of Macbeth

Nineteenth century German children would play with these figures on smallcardboard stages no bigger than a dollhouseey could replicate the story as it was toldin Shakespeare or use their imagination tochange the ending letting Lady Macbethsurvive and bringing Duncan back from thedead if they so chosee limits of the game were the limits of their imagination

Today the lsquogamificationrsquo of Shakespeareis a big business from Ryan Northrsquos choose-your-own-adventure edition of Hamlet To Be Or Not To Be to IDW Gamesrsquosupcoming Kill Shakespeare board gamebased on the comic of the same name

Gamifying Shakespeare is filtering intoschools libraries and the theatrical worldas well with the University of California atDavis the Stratford Festival in Ontario theGlobeeatre in London and the LondonMetropolitan Archives all experimenting with video game elements in exhibits productionsand research

Why video games In a sense this is thelogical next step in the media development ofShakespeare Hersquos everywhere in other media

books movies merchandise But videogamese answer for that depends on whoyou ask

StorytellingOccasionally individuals or publishinghouses develop video games that try to tellthe story of say Hamlet yet this is relativelyrare One example would be Elsinore a time-looping narrative adventure game set in the world of the play Players play the game as

Ophelia who wakes up knowing that in fourdays the entire court will be dead and shemust do something to stop ite problemis that she is stuck in a time loop reliving thesame four days over and over againat said Shakespearersquos presence in the

video game industry tends to be focused oncitation rather than adaptation of the playsat is video games for Xbox Playstationand other popular gaming systems often

just cite Shakespearersquos plays as a part of acommon cultural heritageese games donrsquotrestage say Hamlet but they quote the playIn these cases Shakespeare is used to establisha point of identification for the audience His writing tells the audience something aboutthe character or the situation

Given that audiences are supposedto be able to identify the quotations asShakespearean it is unsurprising that Hamlet is the most popular text for game designers to

cite Ine Elder Scrolls Online for instancea merchant NPC (non-player character)quotes Polonius when players interact sayingldquoNeither a borrower nor a lender berdquoe words establish the NPCrsquos role as a merchant while fitting the medieval world of thegame In the game LA Noire upon pickingup a fake shrunken head at a crime scene adetective leaps into high melodrama withldquoAlas poor Yorick I knew him Horatiordquoequotation and the clever voice acting establish

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Shakespeare video games

48 SHAKESPEARE magazine

the characterrsquos strait-laced yet macabre senseof humour

Sometimes citing Shakespeare is a partof a critique of a larger theme In the game Mass E ff ect the Elcor are a race of elephantinealiens who preface all statements with adescription of the emotion they are feelingand who speak in a slow monotonous drone As players interact with the expansive worldthey can discover a number of advertisementsfor an all-Elcor Hamlet e idea of theElcor actor ndash the ultimate in a flat woodenperformer ndash having to preface ldquoTo be or not

to berdquo with ldquomorose ruminationrdquo goes beyondthe simple humour of a bad Shakespeareperformance It subtly asks what it is aboutacting (and especially voice acting) that isvaluable

Shakespeare can appear in video gamesnot merely as a marker or contextualisationtool but as a part of a puzzle For example inthe game Silent Hill 3 players must arrange aset of Shakespeare anthologies on a bookshelfin an abandoned shopping mall in order to

proceed in the game At the hardest levelthe puzzle clue takes the form of a poemthat references all the major tragedies Romeoand Juliet King Lear Macbeth Othello andof course Hamlet e bloody nature of thetragedies fits with the bloody nature of theSilent Hill series of games which fall into thesurvival horror genre

Popular video games have also servedas the inspiration for games that engage with Shakespeare in a more direct way For

example Daniel Fischlin at the Universityof Guelph in Ontario Canada led a teamthat created a Flash game called rsquoSpeare Itrsquos

a scrolling arcade-style game suggesting thersquo80s hit Galaga which sees players identifyingand navigating through a series of enemies who turn into words upon being destroyede player progresses through the levelsby collecting the correct words to createShakespearean quotes learning Shakespeareantrivia along the way

ImmersionOne of the most exciting aspects of videogames is the ability to immerse the player inthe world of the game in a way that othermedia simply cannot do Being able to walkaround Prosperorsquos cell Julietrsquos balcony orto stand before the ghost of Hamletrsquos fatheras he cries out ldquoList list O listrdquo ndash theseexperiences are made possible through videogame technology

Students of Scenic Arts at the Universityof Hildesheim in Germany created Projekt ARIEL or SturmMOD in 2008 using a lsquomodrsquo(or modification) to the engine that runs

the game Far Cry 1 e performance artproject allowed users to experience Prosperorsquosisland interacting with certain parts andexploring others Players could walk aroundan imaginative rendition of Prosperorsquos cell and witness or interact with elements of the playincluding diff erent characters like CalibanProspero and Miranda

Four days to savethe Danish court

Elsinore

Another Hamlet reference this timein LA Noire

7172019 Shakespeare Magazine 08

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Shakespeare video games

SHAKESPEARE magazine 49

Gina Bloom at the University of Californiaat Davis is presently spearheading a projectthat will be demonstrated in the lobby of theStratford Festival theatre in Ontario Canadathis summere project Play the Knave AShakespeare Performance Videogame lets usersdesign a virtual performance space and thenperform a scene from a Shakespeare playinhabiting this constructed space with anavatar As a Davis insider explains ldquoWe use akinect motion capture camera to capture theuserrsquos skeletal data so that players use theirentire bodies to control their avatarrsquos gesturesonscreen all the while reciting the lines from

Shakespearersquos scenerdquo is literally immersesthe players in the scene

Shakespearersquos Globe eatre in Londontook another tactic regarding immersionin the production of the game HemmingsrsquoPlay Company Hosted on the Playgroundportion of the Globersquos website and thusaimed at an audience of children the gamehas players taking on the role of Hemmingsan Elizabethan bear who leads a troupe oftheatrical animals such as Kit the Cat Dekker

the Dog and Slye the Foxe turn-based game leads players through

the vagaries of Elizabethan theatre practicefrom patronage to lost props and the plagueBy the end of the game players must earnenough money to rebuild the Globe after itburns down during a performance of HenryVIII

Also from Shakespearersquos Globe are twoinnovative video experiences created forchildren aged five to 11 e first Exploring

Shakespeare features two boys on a tour ofthe Globe theatre who sneak off to explorebackstage e video illustrates four plays

using short animations that are keyedto things the boys find backstage etechnology combines live action film andanimation to create an interactive touchablegame Filled with mini-games quizzes andinteresting facts about Shakespeare the gameallows players to click through the narrativeor to stop and learn more as they go along

e second video called Staging It usesthe same technology as the first film but thistime is for the 11-16 age group In this gamee Globe has filmed two actors performingfamous duologues from A MidsummerNightrsquos Dream and Macbeth on the Globestage Rather than shoot it once the actorshave performed their lines in diff erent ways(happy flirtatious defensive and so on)creating several diff erent clips per linePlayers can watch each of the clips and addtheir choice to a dynamic storyboard tobuild up their final scene Impressively theplatform allows for up to 1000000 diff erentcombinations of clips

Apps and Mini-GamesItrsquos when you start to look outside of therealm of popular video game platformslike Xbox or Playstation that Shakespeare

Silent Hill 3 Brush upyour Shakespeare ifyou want to survive

Hemmingsrsquo PlayCompany fromShakespearersquosGlobe

7172019 Shakespeare Magazine 08

httpslidepdfcomreaderfullshakespeare-magazine-08 5056

Shakespeare video games

50 SHAKESPEARE magazine

really starts to pop up wherever you looke ubiquity of Shakespeare is especiallynoticeable when you start to look at apps andmini-games designed for phones and tablets

In 2012 Big Fish Games released aniPhone and iPad game called Hamlet that featured all the main characters ofShakespearersquos play but transposed them intoa save-the-princess narrative puzzle game A time traveller lands in Denmark andaccidentally kills Hamlet and so players mustcomplete his journey for him saving Opheliaand killing Claudiuse Shakespeareancontent is minimal and heavily adapted andyet it fits with the puzzle format in whichShakespeare tends to be found in videogamese Chronicles of Shakespeare Romeo amp

Juliet ande Chronicles of Shakespeare A Midsummer Nightrsquos Dream are lusciously-illustrated puzzle games for the PC In themplayers act as one of the characters from theplays gathering items and clues through aShakespearean environment

Among the literally thousands of appsrelated to Shakespeare that can be found forthe iPad or Android tablet are

e Shakespearean Insult Creator which generates invectives drawn from a wholly Shakespearean vocabulary So nexttime you want to call someone a jerk trysomething more like ldquoou fusty follyfallenfustilarianrdquo

e Shakespeare Translator whichtranslates ldquonormal English words and phrasesinto the words of Shakespeare himselfrdquo

e Shakespeare Fortune Cookie which provides short quotes from the plays

and a small trivia game Shakespeare or Die a game that

scrambles the words of famous quotationsfrom the plays and asks you to identify theplay and character who spoke the line If youmake a mistake however beware the witchesese apps are either explicitly games or

they are coming out of a game-like impulse tomake Shakespeare more accessible to everyone with an internet connection

Brave New WorldsIn a world where Shakespeare is an industrycounted in the millions of dollars per yearit is so easy to forget that Shakespearersquos playsare just that ndash playsere is a sense of joyand fun and happiness embedded in theexperience of watching them Games are oneof the ways that people over the centuries

have tried to recapture that elusive sense ofplayfulness within Shakespeare So it makesperfect sense that now with the advent ofdigital technologies Shakespeare is movinginto the digital world with a vengeance

From big studio games likee ElderScrolls to small apps that can be downloadedfor free from talking bears to immersiveperformance experiences Shakespeare iseverywhere in video games Rather than beingan undiscovered country into which the Bard

is only just beginning to emerge games havein fact engaged with Shakespeare and his works for hundreds of years And they willprobably continue to do so for hundreds ofyears to come

rsquoSpeare is a scrollingarcade-stylegame with addedShakespeare trivia

Hamlet is aShakespeare-themed puzzle fromBig Fish Games

7172019 Shakespeare Magazine 08

httpslidepdfcomreaderfullshakespeare-magazine-08 5156

7172019 Shakespeare Magazine 08

httpslidepdfcomreaderfullshakespeare-magazine-08 5256

Meet thy makers

Helen Mears fell into bardolatryduring her teenage years and has

never recovered She is a volunteersteward at Shakespearersquos Globe

which ensures a regular diet of theBard She teaches English Film andMedia at Suffolk New College and isa specialist in teaching Shakespeareusing active methods Her favouriteShakespearean actor is Jamie Parker

and her favourite plays are the SecondHistory Tetralogy She hopes to

finish her Masters in the AdvancedTeaching of Shakespeare very soonFind her on Twitter hipster_hels

Paul F Cockburn is an Edinburgh-based freelance magazine journalist who specialises in writing about

arts and culture equality issues andpopular science Hersquos sufficiently

grey-haired for his English Literaturetraining to have sort of overlapped

with The BBC Television Shakespeareproject saving at least some of the

plays from death by academiaFind him on Twitter paulfcockburn

Jen Richardson first fell in love withShakespeare as a 15-year-old schoolgirl

ldquoHe got under my skin and hersquos still theretodayrdquo After training with a Manchester-based drama tutor she went on to pursuean acting career Drama remains a greatinterest but her focus is now on sharing

her passion for Shakespeare throughher writing In her spare time Jen is

generally down in Stratford-upon-Avonsitting on her favourite bench behind

Holy Trinity ChurchFind her on Twitter The_JenJen

Andrew Bretz is a sessional instructorof English Literature and Drama

specialising in early modern dramaHe has taught at Wilfrid LaurierUniversity the University of Guelph

Brock University and McMasterUniversity For the past two years he

has taught a special summer intensiveat Ontariorsquos Stratford Festival His PhDdissertation was on the representationof sexual violence on the early modern

stage Find him on TwitterAndrewBretz001

Just some of the contributors to this issue of Shakespeare Magazine

Rosalind Lyons is a painter whohas exhibited widely in both mixedand solo shows with work in UK

and international private collections A life-long love of Shakespeare isreflected in many of her paintings

and a particular recent focus isShakespearersquos Globe theatre where shespent a period as artist-in-residenceShe is currently studying for a PhD

in Painting and ShakespeareanTheatre at Anglia Ruskin University

in CambridgeFind her on Twitter roslyons

52 SHAKESPEARE magazine

Contributors

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under the patronage of Scotlandrsquos King JamesVI (aka James I of England) Each in theirown way can be said to touch on ldquothe matterof Britainrdquo the complex relationship between

the constituent elements of Jamesrsquos newlsquounitedrsquo kingdom which the Stuart monarch was determined to see joined into oneat never quite happened of course

Even after the 1707 Act of UnionScotland retained its own legal educationaland religious systems along with anaccompanying sense of Scottish identity ndash which survived even the height of the Britishempire Yet from the 1970s on there havebeen notable changes in how Shakespeareis treated by Scotlandrsquos producing theatrecompanies Several years ago GlasgowrsquosCitizenseatre delivered a powerful Romeoand Juliet in part because of their decision toset the action in a present-day sectarian Westof Scotland ndash with accents to match

ldquoEnglish-accented Shakespeare carriesa specific resonance in Scotland one thatdirectors usually choose to avoidrdquo pointsout Mark Fisher a freelance journalist criticand author of the forthcoming book How toWrite Abouteatre

ldquoIrsquom not sure exactly when attitudesstarted to change but Irsquod say the argumentin favour of Scottish-accented productionshad been pretty much won by the 1990sBy that time companies such as Raindogand directors such as Hamish Glen hadbeen making a point of casting very Scottishproductions of Shakespearerdquo

One example of how things hadprogressed even by 1992 was the late KennyIrelandrsquos production of A Midsummer

Nightrsquos Dream his first as Artistic Directorat Edinburghrsquos Royal Lyceum ldquoHe castthe mechanicals with Scottish accents andeveryone else with English accentsrdquo MarkFisher explains ldquois I said in my review wasa fundamental error ndash or some such phrasee message it sent out was that people withScottish accents were foolish figures of fun whereas people with English accents wereserious figures of respect

ldquoIreland reacted furiously to my review

and made the case that he had based thecasting of the mechanicals around (the actor) Andy Gray who has a Scottish accent Inother words the meaning I inferred hadnot been deliberate I think itrsquos true to sayhowever that Ireland never cast a Shakespearelike that againrdquo

Gordon Barr is Artistic Director of

Glasgow-based Bard in the BotanicsScotlandrsquos only professional Shakespearecompany (see following pages)

ldquoWersquove never gone out of our way tomake Scottish versions of these texts norhave we gone out of our way to have classicaltraditional voicesrdquo he says ldquoMost of our coreactors have made their careers up here so wethink of them as Scottish actors

ldquoat is important to us to not overlylook outwards for the acting company As

much as possible we work with people who are based in Scotland Wersquore regularlyproducing Shakespeare here and we want tobe a part of the training to ensure that there isa range of strong classical actors hererdquo

Citizens Theatrewwwcitzcouk

Owen Whitehawas the Fool andDavid Hayman asLear in CitizensTheatrersquos King Lear Photo by TimMorozzo

Scotland Shakes

SHAKESPEARE magazine 41

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Bard in theBotanicsrsquo As You Like

It takes Rosalind andOrlando into theopen air

ldquoTouring is something that we have wanted to do foryears but was somethingthat we could not afford

to do without fundingrdquo says Gordon Barr Artistic Director of Scotlandrsquos only professionaloutdoor Shakespeare festival Bard in theBotanics If therersquos any irony attached tothe companyrsquos first major tour of Scotland which took place in early 2015 itrsquos that theperformances of their acclaimed Romeo and Juliet ndash featuring a cast of five ndash were playedexclusively indoors

ldquoNobody is touring classical theatre in

Scotland at the minute so itrsquos importantto usrdquo Barr adds ldquoOur work is so muchabout accessibility One of the joys of beingoutdoors is that people come to see the work who wouldnrsquot buy a ticket for a theatre Ifyou can bring a picnic sit out on the grass while watching the show it feels easier moreaccessible But people canrsquot come from Thursoto Glasgow for a night just to see a productionof Shakespeare They should be able to see itin Thurso So that is kind of where the urge totour came fromrdquo

Bard in the Botanics has presented outdoorShakespeare within the grounds of GlasgowrsquosBotanic Gardens since 2003 This yearrsquoslsquoUnlikely Wondersrsquo season presented newproductions of Loversquos Labourrsquos Lost The Merchant of Venice Richard II and A Midsummer Nightrsquos Dream in lsquoreprsquo between24 June and 1 August

The companyrsquos founder Scott PalmerBarr explains had done a lot of his training atthe Oregon Shakespeare Festival one of the

biggest in North America ldquoWith the kindof drive and enthusiasm that only Americanshave he managed to convince the entire cityof Glasgow that outdoor Shakespeare would work and that the weather wasnrsquot going to be

a problemrdquoTwo years later Palmer moved on and Barr

ndash originally involved as a director ndash succeededhim as Artistic Director ldquoIf anyone then hadsaid that I would end up spending 12 yearsrunning an outdoor Shakespeare festival I wouldnrsquot have believed themrdquo he says in hisoffice hidden behind some of the Botanicsrsquogardening sheds ldquoI very quickly fell in love with it once I started working here Despiteall the trials and tribulations that outdoortheatre in Scotland brings with it therersquos just

something magical and special about it Itrsquos a very close-knit company and thatrsquos sort of keptus all here as long as we have beenrdquo

While the annual summer season ofShakespeare plays in the Botanics will remainat the centre of what the company does ndashldquoOtherwise Bard in the Botanics becomesa rather strange namerdquo ndash Barr is very much

Outof theGarden

This year has seen Glasgowrsquos Bard in the Botanicsdo something completely unexpected They wentout on a tour of ndash whisper it ndash indoor venueshellip

Scotland Shakes

42 SHAKESPEARE magazine

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httpslidepdfcomreaderfullshakespeare-magazine-08 4356

Scotland Shakes

SHAKESPEARE magazine 43

focused on building on the touring side ldquoBecause it was our first ever tour we

did end up taking Romeo and Juliet to theestablished Scottish touring circuitrdquo he addsldquoIt takes a while to build up relationships with the smaller venues thatrsquos going to bean ongoing process for us Even so we weretaking Romeo and Juliet to places like Mulland Stranraer ndash communities and venues thathavenrsquot had a lot of classical theatre comingthrough themrdquo

The choice of play was deliberate too ldquoIt was a production that was ready to go whichhad received five star reviews and sold out itsextended run in the Botanics in 2012 So weknew that the work was good but therersquos nodoubt that for a first tour we wanted to makeit easier for the venues to sell it Most venuesknow they can find an audience for Romeo and Juliet rdquo

In time he hopes that audiences aroundthe rest of Scotland will come to trust the Bardin the Botanics name sufficiently to take on theless familiar plays

ldquoYou just donrsquot know how quickly acommunity is going to turn out for Henry IV yetrdquo he says ldquoHopefully three or four toursdown the line theyrsquore going to turn out forBard in the Botanics ndash and if it happens to be

Henry IV well thatrsquos greatrdquoGiven their reimagining of A MidsummerNightrsquos Dream as a 1920s burlesque musicalis there a particular Bard in the Botanicsapproach to Shakespeare

ldquoOur kind of unofficial motto is lsquoBe BoldBe Braversquordquo Barr says ldquoIf wersquore continuingto stage these plays around 400 years afterShakespearersquos death I think therersquos an urgencyto ask lsquoWhyrsquo It is important to questionlsquoWhat is the story that we want to tellrsquo I wantto see how these plays intersect with historyand todayrsquos society not to present museumpieces

ldquoItrsquos always with an eye to try to releasesomething thatrsquos within the textrdquo Barrinsists ldquoWersquore not remotely interested ininnovation for innovationrsquos sake The playsare masterpieces thatrsquos essentially why wersquorestill doing them 400 years later But to revealsomething thatrsquos unexpected or new thatrsquosimportant to usrdquo

Bard in the Botanics

wwwbardinthebotanicscouk

Rosalind and Audreyin the forest Bardin the Botanicsrsquo As You Like It

7172019 Shakespeare Magazine 08

httpslidepdfcomreaderfullshakespeare-magazine-08 4456

Shakespeare at the Tobacco Factory stf 2016 Seasonco-production with Tobacco Factory Theatres

HAMLETBy William Shakespeare

Directed by Andrew Hilton

Main run Thu 11 February ndash Sat 26 March 2016

In repertoire with Allrsquos Well That Ends WellMon 25 ndash Wed 27 April Sat 30 April 2016

The most famous play in world drama Hamlet

turns a new face to every decade So many

elements - political madness sex murder ndash all

brought together in a drama that is both a thriller

and the profoundest meditation on our human

condition

ldquoThrilling workrdquo The Guardian on Romeo amp Juliet

ldquoBullseyerdquo WhatsOnStage on Romeo amp Juliet

Shakespeare at the Tobacco Factory Friends Priority Booking opens Wed 23 September 10am

wwwstf-theatreorguk

Tobacco Factory Theatres Members Priority Booking opens Wed 16 September 10am

wwwtobaccofactorytheatrescom

Public Booking opens Wed 30 September 10am

Tobacco Factory Box Office 0117 902 0344

ALLrsquoS WELL THAT ENDS WELLBy William Shakespeare

Directed by Andrew Hilton

Main run Thu 31 March ndash Sat 23 April 2016

In repertoire with Hamlet

Thu 28 ndash Fri 29 April Sat 30 April

A young woman using skills bequeathed herby her father saves the French Kingrsquos life and

is rewarded with the right to choose her own

husband But what if the chosen one wonrsquot play

the game How can she get him into bed How

can she make him love her

ldquo There is something approaching real

magic hererdquo The Arts Desk on The School for Scandal

P h o t o s M

a r k D o u e t

Dorothea MyerBennett in Richard III

Benjamin Whitrowand Julia Hills in The

School For Scandal

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Having conquered

Hollywood and vanquished

the global entertainment

industry video games now

on our culture So where

does the Bard stand in all of

this We sent a Shakespeare

scholar to investigatehellip

Words Andrew Bretz

Shakespeare video games

46 SHAKESPEARE magazine

T eGamersquos A oot Silent Hill is one

big-name gamewhich includesShakespearereferences

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Shakespeare video games

SHAKESPEARE magazine 47

German cardboard Macbeth datingfrom the early1800s

Hamlet reimaginedRyan Northrsquos To Be

Or Not To Be

W

hen you walk intothe wood panelled Victorian Gothicismof the Gail Kern Paster

Reading Room at theFolger Shakespeare Library in WashingtonDC video games are probably the lastthing on your mind Buried deep withinthe archives however are a set of fragilecardboard figures printed in Germany in theearly 1800s representing each of the maincharacters of Macbeth

Nineteenth century German children would play with these figures on smallcardboard stages no bigger than a dollhouseey could replicate the story as it was toldin Shakespeare or use their imagination tochange the ending letting Lady Macbethsurvive and bringing Duncan back from thedead if they so chosee limits of the game were the limits of their imagination

Today the lsquogamificationrsquo of Shakespeareis a big business from Ryan Northrsquos choose-your-own-adventure edition of Hamlet To Be Or Not To Be to IDW Gamesrsquosupcoming Kill Shakespeare board gamebased on the comic of the same name

Gamifying Shakespeare is filtering intoschools libraries and the theatrical worldas well with the University of California atDavis the Stratford Festival in Ontario theGlobeeatre in London and the LondonMetropolitan Archives all experimenting with video game elements in exhibits productionsand research

Why video games In a sense this is thelogical next step in the media development ofShakespeare Hersquos everywhere in other media

books movies merchandise But videogamese answer for that depends on whoyou ask

StorytellingOccasionally individuals or publishinghouses develop video games that try to tellthe story of say Hamlet yet this is relativelyrare One example would be Elsinore a time-looping narrative adventure game set in the world of the play Players play the game as

Ophelia who wakes up knowing that in fourdays the entire court will be dead and shemust do something to stop ite problemis that she is stuck in a time loop reliving thesame four days over and over againat said Shakespearersquos presence in the

video game industry tends to be focused oncitation rather than adaptation of the playsat is video games for Xbox Playstationand other popular gaming systems often

just cite Shakespearersquos plays as a part of acommon cultural heritageese games donrsquotrestage say Hamlet but they quote the playIn these cases Shakespeare is used to establisha point of identification for the audience His writing tells the audience something aboutthe character or the situation

Given that audiences are supposedto be able to identify the quotations asShakespearean it is unsurprising that Hamlet is the most popular text for game designers to

cite Ine Elder Scrolls Online for instancea merchant NPC (non-player character)quotes Polonius when players interact sayingldquoNeither a borrower nor a lender berdquoe words establish the NPCrsquos role as a merchant while fitting the medieval world of thegame In the game LA Noire upon pickingup a fake shrunken head at a crime scene adetective leaps into high melodrama withldquoAlas poor Yorick I knew him Horatiordquoequotation and the clever voice acting establish

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Shakespeare video games

48 SHAKESPEARE magazine

the characterrsquos strait-laced yet macabre senseof humour

Sometimes citing Shakespeare is a partof a critique of a larger theme In the game Mass E ff ect the Elcor are a race of elephantinealiens who preface all statements with adescription of the emotion they are feelingand who speak in a slow monotonous drone As players interact with the expansive worldthey can discover a number of advertisementsfor an all-Elcor Hamlet e idea of theElcor actor ndash the ultimate in a flat woodenperformer ndash having to preface ldquoTo be or not

to berdquo with ldquomorose ruminationrdquo goes beyondthe simple humour of a bad Shakespeareperformance It subtly asks what it is aboutacting (and especially voice acting) that isvaluable

Shakespeare can appear in video gamesnot merely as a marker or contextualisationtool but as a part of a puzzle For example inthe game Silent Hill 3 players must arrange aset of Shakespeare anthologies on a bookshelfin an abandoned shopping mall in order to

proceed in the game At the hardest levelthe puzzle clue takes the form of a poemthat references all the major tragedies Romeoand Juliet King Lear Macbeth Othello andof course Hamlet e bloody nature of thetragedies fits with the bloody nature of theSilent Hill series of games which fall into thesurvival horror genre

Popular video games have also servedas the inspiration for games that engage with Shakespeare in a more direct way For

example Daniel Fischlin at the Universityof Guelph in Ontario Canada led a teamthat created a Flash game called rsquoSpeare Itrsquos

a scrolling arcade-style game suggesting thersquo80s hit Galaga which sees players identifyingand navigating through a series of enemies who turn into words upon being destroyede player progresses through the levelsby collecting the correct words to createShakespearean quotes learning Shakespeareantrivia along the way

ImmersionOne of the most exciting aspects of videogames is the ability to immerse the player inthe world of the game in a way that othermedia simply cannot do Being able to walkaround Prosperorsquos cell Julietrsquos balcony orto stand before the ghost of Hamletrsquos fatheras he cries out ldquoList list O listrdquo ndash theseexperiences are made possible through videogame technology

Students of Scenic Arts at the Universityof Hildesheim in Germany created Projekt ARIEL or SturmMOD in 2008 using a lsquomodrsquo(or modification) to the engine that runs

the game Far Cry 1 e performance artproject allowed users to experience Prosperorsquosisland interacting with certain parts andexploring others Players could walk aroundan imaginative rendition of Prosperorsquos cell and witness or interact with elements of the playincluding diff erent characters like CalibanProspero and Miranda

Four days to savethe Danish court

Elsinore

Another Hamlet reference this timein LA Noire

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Shakespeare video games

SHAKESPEARE magazine 49

Gina Bloom at the University of Californiaat Davis is presently spearheading a projectthat will be demonstrated in the lobby of theStratford Festival theatre in Ontario Canadathis summere project Play the Knave AShakespeare Performance Videogame lets usersdesign a virtual performance space and thenperform a scene from a Shakespeare playinhabiting this constructed space with anavatar As a Davis insider explains ldquoWe use akinect motion capture camera to capture theuserrsquos skeletal data so that players use theirentire bodies to control their avatarrsquos gesturesonscreen all the while reciting the lines from

Shakespearersquos scenerdquo is literally immersesthe players in the scene

Shakespearersquos Globe eatre in Londontook another tactic regarding immersionin the production of the game HemmingsrsquoPlay Company Hosted on the Playgroundportion of the Globersquos website and thusaimed at an audience of children the gamehas players taking on the role of Hemmingsan Elizabethan bear who leads a troupe oftheatrical animals such as Kit the Cat Dekker

the Dog and Slye the Foxe turn-based game leads players through

the vagaries of Elizabethan theatre practicefrom patronage to lost props and the plagueBy the end of the game players must earnenough money to rebuild the Globe after itburns down during a performance of HenryVIII

Also from Shakespearersquos Globe are twoinnovative video experiences created forchildren aged five to 11 e first Exploring

Shakespeare features two boys on a tour ofthe Globe theatre who sneak off to explorebackstage e video illustrates four plays

using short animations that are keyedto things the boys find backstage etechnology combines live action film andanimation to create an interactive touchablegame Filled with mini-games quizzes andinteresting facts about Shakespeare the gameallows players to click through the narrativeor to stop and learn more as they go along

e second video called Staging It usesthe same technology as the first film but thistime is for the 11-16 age group In this gamee Globe has filmed two actors performingfamous duologues from A MidsummerNightrsquos Dream and Macbeth on the Globestage Rather than shoot it once the actorshave performed their lines in diff erent ways(happy flirtatious defensive and so on)creating several diff erent clips per linePlayers can watch each of the clips and addtheir choice to a dynamic storyboard tobuild up their final scene Impressively theplatform allows for up to 1000000 diff erentcombinations of clips

Apps and Mini-GamesItrsquos when you start to look outside of therealm of popular video game platformslike Xbox or Playstation that Shakespeare

Silent Hill 3 Brush upyour Shakespeare ifyou want to survive

Hemmingsrsquo PlayCompany fromShakespearersquosGlobe

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Shakespeare video games

50 SHAKESPEARE magazine

really starts to pop up wherever you looke ubiquity of Shakespeare is especiallynoticeable when you start to look at apps andmini-games designed for phones and tablets

In 2012 Big Fish Games released aniPhone and iPad game called Hamlet that featured all the main characters ofShakespearersquos play but transposed them intoa save-the-princess narrative puzzle game A time traveller lands in Denmark andaccidentally kills Hamlet and so players mustcomplete his journey for him saving Opheliaand killing Claudiuse Shakespeareancontent is minimal and heavily adapted andyet it fits with the puzzle format in whichShakespeare tends to be found in videogamese Chronicles of Shakespeare Romeo amp

Juliet ande Chronicles of Shakespeare A Midsummer Nightrsquos Dream are lusciously-illustrated puzzle games for the PC In themplayers act as one of the characters from theplays gathering items and clues through aShakespearean environment

Among the literally thousands of appsrelated to Shakespeare that can be found forthe iPad or Android tablet are

e Shakespearean Insult Creator which generates invectives drawn from a wholly Shakespearean vocabulary So nexttime you want to call someone a jerk trysomething more like ldquoou fusty follyfallenfustilarianrdquo

e Shakespeare Translator whichtranslates ldquonormal English words and phrasesinto the words of Shakespeare himselfrdquo

e Shakespeare Fortune Cookie which provides short quotes from the plays

and a small trivia game Shakespeare or Die a game that

scrambles the words of famous quotationsfrom the plays and asks you to identify theplay and character who spoke the line If youmake a mistake however beware the witchesese apps are either explicitly games or

they are coming out of a game-like impulse tomake Shakespeare more accessible to everyone with an internet connection

Brave New WorldsIn a world where Shakespeare is an industrycounted in the millions of dollars per yearit is so easy to forget that Shakespearersquos playsare just that ndash playsere is a sense of joyand fun and happiness embedded in theexperience of watching them Games are oneof the ways that people over the centuries

have tried to recapture that elusive sense ofplayfulness within Shakespeare So it makesperfect sense that now with the advent ofdigital technologies Shakespeare is movinginto the digital world with a vengeance

From big studio games likee ElderScrolls to small apps that can be downloadedfor free from talking bears to immersiveperformance experiences Shakespeare iseverywhere in video games Rather than beingan undiscovered country into which the Bard

is only just beginning to emerge games havein fact engaged with Shakespeare and his works for hundreds of years And they willprobably continue to do so for hundreds ofyears to come

rsquoSpeare is a scrollingarcade-stylegame with addedShakespeare trivia

Hamlet is aShakespeare-themed puzzle fromBig Fish Games

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httpslidepdfcomreaderfullshakespeare-magazine-08 5156

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Meet thy makers

Helen Mears fell into bardolatryduring her teenage years and has

never recovered She is a volunteersteward at Shakespearersquos Globe

which ensures a regular diet of theBard She teaches English Film andMedia at Suffolk New College and isa specialist in teaching Shakespeareusing active methods Her favouriteShakespearean actor is Jamie Parker

and her favourite plays are the SecondHistory Tetralogy She hopes to

finish her Masters in the AdvancedTeaching of Shakespeare very soonFind her on Twitter hipster_hels

Paul F Cockburn is an Edinburgh-based freelance magazine journalist who specialises in writing about

arts and culture equality issues andpopular science Hersquos sufficiently

grey-haired for his English Literaturetraining to have sort of overlapped

with The BBC Television Shakespeareproject saving at least some of the

plays from death by academiaFind him on Twitter paulfcockburn

Jen Richardson first fell in love withShakespeare as a 15-year-old schoolgirl

ldquoHe got under my skin and hersquos still theretodayrdquo After training with a Manchester-based drama tutor she went on to pursuean acting career Drama remains a greatinterest but her focus is now on sharing

her passion for Shakespeare throughher writing In her spare time Jen is

generally down in Stratford-upon-Avonsitting on her favourite bench behind

Holy Trinity ChurchFind her on Twitter The_JenJen

Andrew Bretz is a sessional instructorof English Literature and Drama

specialising in early modern dramaHe has taught at Wilfrid LaurierUniversity the University of Guelph

Brock University and McMasterUniversity For the past two years he

has taught a special summer intensiveat Ontariorsquos Stratford Festival His PhDdissertation was on the representationof sexual violence on the early modern

stage Find him on TwitterAndrewBretz001

Just some of the contributors to this issue of Shakespeare Magazine

Rosalind Lyons is a painter whohas exhibited widely in both mixedand solo shows with work in UK

and international private collections A life-long love of Shakespeare isreflected in many of her paintings

and a particular recent focus isShakespearersquos Globe theatre where shespent a period as artist-in-residenceShe is currently studying for a PhD

in Painting and ShakespeareanTheatre at Anglia Ruskin University

in CambridgeFind her on Twitter roslyons

52 SHAKESPEARE magazine

Contributors

7172019 Shakespeare Magazine 08

httpslidepdfcomreaderfullshakespeare-magazine-08 5356

7172019 Shakespeare Magazine 08

httpslidepdfcomreaderfullshakespeare-magazine-08 5456

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httpslidepdfcomreaderfullshakespeare-magazine-08 5556

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Bard in theBotanicsrsquo As You Like

It takes Rosalind andOrlando into theopen air

ldquoTouring is something that we have wanted to do foryears but was somethingthat we could not afford

to do without fundingrdquo says Gordon Barr Artistic Director of Scotlandrsquos only professionaloutdoor Shakespeare festival Bard in theBotanics If therersquos any irony attached tothe companyrsquos first major tour of Scotland which took place in early 2015 itrsquos that theperformances of their acclaimed Romeo and Juliet ndash featuring a cast of five ndash were playedexclusively indoors

ldquoNobody is touring classical theatre in

Scotland at the minute so itrsquos importantto usrdquo Barr adds ldquoOur work is so muchabout accessibility One of the joys of beingoutdoors is that people come to see the work who wouldnrsquot buy a ticket for a theatre Ifyou can bring a picnic sit out on the grass while watching the show it feels easier moreaccessible But people canrsquot come from Thursoto Glasgow for a night just to see a productionof Shakespeare They should be able to see itin Thurso So that is kind of where the urge totour came fromrdquo

Bard in the Botanics has presented outdoorShakespeare within the grounds of GlasgowrsquosBotanic Gardens since 2003 This yearrsquoslsquoUnlikely Wondersrsquo season presented newproductions of Loversquos Labourrsquos Lost The Merchant of Venice Richard II and A Midsummer Nightrsquos Dream in lsquoreprsquo between24 June and 1 August

The companyrsquos founder Scott PalmerBarr explains had done a lot of his training atthe Oregon Shakespeare Festival one of the

biggest in North America ldquoWith the kindof drive and enthusiasm that only Americanshave he managed to convince the entire cityof Glasgow that outdoor Shakespeare would work and that the weather wasnrsquot going to be

a problemrdquoTwo years later Palmer moved on and Barr

ndash originally involved as a director ndash succeededhim as Artistic Director ldquoIf anyone then hadsaid that I would end up spending 12 yearsrunning an outdoor Shakespeare festival I wouldnrsquot have believed themrdquo he says in hisoffice hidden behind some of the Botanicsrsquogardening sheds ldquoI very quickly fell in love with it once I started working here Despiteall the trials and tribulations that outdoortheatre in Scotland brings with it therersquos just

something magical and special about it Itrsquos a very close-knit company and thatrsquos sort of keptus all here as long as we have beenrdquo

While the annual summer season ofShakespeare plays in the Botanics will remainat the centre of what the company does ndashldquoOtherwise Bard in the Botanics becomesa rather strange namerdquo ndash Barr is very much

Outof theGarden

This year has seen Glasgowrsquos Bard in the Botanicsdo something completely unexpected They wentout on a tour of ndash whisper it ndash indoor venueshellip

Scotland Shakes

42 SHAKESPEARE magazine

7172019 Shakespeare Magazine 08

httpslidepdfcomreaderfullshakespeare-magazine-08 4356

Scotland Shakes

SHAKESPEARE magazine 43

focused on building on the touring side ldquoBecause it was our first ever tour we

did end up taking Romeo and Juliet to theestablished Scottish touring circuitrdquo he addsldquoIt takes a while to build up relationships with the smaller venues thatrsquos going to bean ongoing process for us Even so we weretaking Romeo and Juliet to places like Mulland Stranraer ndash communities and venues thathavenrsquot had a lot of classical theatre comingthrough themrdquo

The choice of play was deliberate too ldquoIt was a production that was ready to go whichhad received five star reviews and sold out itsextended run in the Botanics in 2012 So weknew that the work was good but therersquos nodoubt that for a first tour we wanted to makeit easier for the venues to sell it Most venuesknow they can find an audience for Romeo and Juliet rdquo

In time he hopes that audiences aroundthe rest of Scotland will come to trust the Bardin the Botanics name sufficiently to take on theless familiar plays

ldquoYou just donrsquot know how quickly acommunity is going to turn out for Henry IV yetrdquo he says ldquoHopefully three or four toursdown the line theyrsquore going to turn out forBard in the Botanics ndash and if it happens to be

Henry IV well thatrsquos greatrdquoGiven their reimagining of A MidsummerNightrsquos Dream as a 1920s burlesque musicalis there a particular Bard in the Botanicsapproach to Shakespeare

ldquoOur kind of unofficial motto is lsquoBe BoldBe Braversquordquo Barr says ldquoIf wersquore continuingto stage these plays around 400 years afterShakespearersquos death I think therersquos an urgencyto ask lsquoWhyrsquo It is important to questionlsquoWhat is the story that we want to tellrsquo I wantto see how these plays intersect with historyand todayrsquos society not to present museumpieces

ldquoItrsquos always with an eye to try to releasesomething thatrsquos within the textrdquo Barrinsists ldquoWersquore not remotely interested ininnovation for innovationrsquos sake The playsare masterpieces thatrsquos essentially why wersquorestill doing them 400 years later But to revealsomething thatrsquos unexpected or new thatrsquosimportant to usrdquo

Bard in the Botanics

wwwbardinthebotanicscouk

Rosalind and Audreyin the forest Bardin the Botanicsrsquo As You Like It

7172019 Shakespeare Magazine 08

httpslidepdfcomreaderfullshakespeare-magazine-08 4456

Shakespeare at the Tobacco Factory stf 2016 Seasonco-production with Tobacco Factory Theatres

HAMLETBy William Shakespeare

Directed by Andrew Hilton

Main run Thu 11 February ndash Sat 26 March 2016

In repertoire with Allrsquos Well That Ends WellMon 25 ndash Wed 27 April Sat 30 April 2016

The most famous play in world drama Hamlet

turns a new face to every decade So many

elements - political madness sex murder ndash all

brought together in a drama that is both a thriller

and the profoundest meditation on our human

condition

ldquoThrilling workrdquo The Guardian on Romeo amp Juliet

ldquoBullseyerdquo WhatsOnStage on Romeo amp Juliet

Shakespeare at the Tobacco Factory Friends Priority Booking opens Wed 23 September 10am

wwwstf-theatreorguk

Tobacco Factory Theatres Members Priority Booking opens Wed 16 September 10am

wwwtobaccofactorytheatrescom

Public Booking opens Wed 30 September 10am

Tobacco Factory Box Office 0117 902 0344

ALLrsquoS WELL THAT ENDS WELLBy William Shakespeare

Directed by Andrew Hilton

Main run Thu 31 March ndash Sat 23 April 2016

In repertoire with Hamlet

Thu 28 ndash Fri 29 April Sat 30 April

A young woman using skills bequeathed herby her father saves the French Kingrsquos life and

is rewarded with the right to choose her own

husband But what if the chosen one wonrsquot play

the game How can she get him into bed How

can she make him love her

ldquo There is something approaching real

magic hererdquo The Arts Desk on The School for Scandal

P h o t o s M

a r k D o u e t

Dorothea MyerBennett in Richard III

Benjamin Whitrowand Julia Hills in The

School For Scandal

7172019 Shakespeare Magazine 08

httpslidepdfcomreaderfullshakespeare-magazine-08 4556

7172019 Shakespeare Magazine 08

httpslidepdfcomreaderfullshakespeare-magazine-08 4656

Having conquered

Hollywood and vanquished

the global entertainment

industry video games now

on our culture So where

does the Bard stand in all of

this We sent a Shakespeare

scholar to investigatehellip

Words Andrew Bretz

Shakespeare video games

46 SHAKESPEARE magazine

T eGamersquos A oot Silent Hill is one

big-name gamewhich includesShakespearereferences

7172019 Shakespeare Magazine 08

httpslidepdfcomreaderfullshakespeare-magazine-08 4756

Shakespeare video games

SHAKESPEARE magazine 47

German cardboard Macbeth datingfrom the early1800s

Hamlet reimaginedRyan Northrsquos To Be

Or Not To Be

W

hen you walk intothe wood panelled Victorian Gothicismof the Gail Kern Paster

Reading Room at theFolger Shakespeare Library in WashingtonDC video games are probably the lastthing on your mind Buried deep withinthe archives however are a set of fragilecardboard figures printed in Germany in theearly 1800s representing each of the maincharacters of Macbeth

Nineteenth century German children would play with these figures on smallcardboard stages no bigger than a dollhouseey could replicate the story as it was toldin Shakespeare or use their imagination tochange the ending letting Lady Macbethsurvive and bringing Duncan back from thedead if they so chosee limits of the game were the limits of their imagination

Today the lsquogamificationrsquo of Shakespeareis a big business from Ryan Northrsquos choose-your-own-adventure edition of Hamlet To Be Or Not To Be to IDW Gamesrsquosupcoming Kill Shakespeare board gamebased on the comic of the same name

Gamifying Shakespeare is filtering intoschools libraries and the theatrical worldas well with the University of California atDavis the Stratford Festival in Ontario theGlobeeatre in London and the LondonMetropolitan Archives all experimenting with video game elements in exhibits productionsand research

Why video games In a sense this is thelogical next step in the media development ofShakespeare Hersquos everywhere in other media

books movies merchandise But videogamese answer for that depends on whoyou ask

StorytellingOccasionally individuals or publishinghouses develop video games that try to tellthe story of say Hamlet yet this is relativelyrare One example would be Elsinore a time-looping narrative adventure game set in the world of the play Players play the game as

Ophelia who wakes up knowing that in fourdays the entire court will be dead and shemust do something to stop ite problemis that she is stuck in a time loop reliving thesame four days over and over againat said Shakespearersquos presence in the

video game industry tends to be focused oncitation rather than adaptation of the playsat is video games for Xbox Playstationand other popular gaming systems often

just cite Shakespearersquos plays as a part of acommon cultural heritageese games donrsquotrestage say Hamlet but they quote the playIn these cases Shakespeare is used to establisha point of identification for the audience His writing tells the audience something aboutthe character or the situation

Given that audiences are supposedto be able to identify the quotations asShakespearean it is unsurprising that Hamlet is the most popular text for game designers to

cite Ine Elder Scrolls Online for instancea merchant NPC (non-player character)quotes Polonius when players interact sayingldquoNeither a borrower nor a lender berdquoe words establish the NPCrsquos role as a merchant while fitting the medieval world of thegame In the game LA Noire upon pickingup a fake shrunken head at a crime scene adetective leaps into high melodrama withldquoAlas poor Yorick I knew him Horatiordquoequotation and the clever voice acting establish

7172019 Shakespeare Magazine 08

httpslidepdfcomreaderfullshakespeare-magazine-08 4856

Shakespeare video games

48 SHAKESPEARE magazine

the characterrsquos strait-laced yet macabre senseof humour

Sometimes citing Shakespeare is a partof a critique of a larger theme In the game Mass E ff ect the Elcor are a race of elephantinealiens who preface all statements with adescription of the emotion they are feelingand who speak in a slow monotonous drone As players interact with the expansive worldthey can discover a number of advertisementsfor an all-Elcor Hamlet e idea of theElcor actor ndash the ultimate in a flat woodenperformer ndash having to preface ldquoTo be or not

to berdquo with ldquomorose ruminationrdquo goes beyondthe simple humour of a bad Shakespeareperformance It subtly asks what it is aboutacting (and especially voice acting) that isvaluable

Shakespeare can appear in video gamesnot merely as a marker or contextualisationtool but as a part of a puzzle For example inthe game Silent Hill 3 players must arrange aset of Shakespeare anthologies on a bookshelfin an abandoned shopping mall in order to

proceed in the game At the hardest levelthe puzzle clue takes the form of a poemthat references all the major tragedies Romeoand Juliet King Lear Macbeth Othello andof course Hamlet e bloody nature of thetragedies fits with the bloody nature of theSilent Hill series of games which fall into thesurvival horror genre

Popular video games have also servedas the inspiration for games that engage with Shakespeare in a more direct way For

example Daniel Fischlin at the Universityof Guelph in Ontario Canada led a teamthat created a Flash game called rsquoSpeare Itrsquos

a scrolling arcade-style game suggesting thersquo80s hit Galaga which sees players identifyingand navigating through a series of enemies who turn into words upon being destroyede player progresses through the levelsby collecting the correct words to createShakespearean quotes learning Shakespeareantrivia along the way

ImmersionOne of the most exciting aspects of videogames is the ability to immerse the player inthe world of the game in a way that othermedia simply cannot do Being able to walkaround Prosperorsquos cell Julietrsquos balcony orto stand before the ghost of Hamletrsquos fatheras he cries out ldquoList list O listrdquo ndash theseexperiences are made possible through videogame technology

Students of Scenic Arts at the Universityof Hildesheim in Germany created Projekt ARIEL or SturmMOD in 2008 using a lsquomodrsquo(or modification) to the engine that runs

the game Far Cry 1 e performance artproject allowed users to experience Prosperorsquosisland interacting with certain parts andexploring others Players could walk aroundan imaginative rendition of Prosperorsquos cell and witness or interact with elements of the playincluding diff erent characters like CalibanProspero and Miranda

Four days to savethe Danish court

Elsinore

Another Hamlet reference this timein LA Noire

7172019 Shakespeare Magazine 08

httpslidepdfcomreaderfullshakespeare-magazine-08 4956

Shakespeare video games

SHAKESPEARE magazine 49

Gina Bloom at the University of Californiaat Davis is presently spearheading a projectthat will be demonstrated in the lobby of theStratford Festival theatre in Ontario Canadathis summere project Play the Knave AShakespeare Performance Videogame lets usersdesign a virtual performance space and thenperform a scene from a Shakespeare playinhabiting this constructed space with anavatar As a Davis insider explains ldquoWe use akinect motion capture camera to capture theuserrsquos skeletal data so that players use theirentire bodies to control their avatarrsquos gesturesonscreen all the while reciting the lines from

Shakespearersquos scenerdquo is literally immersesthe players in the scene

Shakespearersquos Globe eatre in Londontook another tactic regarding immersionin the production of the game HemmingsrsquoPlay Company Hosted on the Playgroundportion of the Globersquos website and thusaimed at an audience of children the gamehas players taking on the role of Hemmingsan Elizabethan bear who leads a troupe oftheatrical animals such as Kit the Cat Dekker

the Dog and Slye the Foxe turn-based game leads players through

the vagaries of Elizabethan theatre practicefrom patronage to lost props and the plagueBy the end of the game players must earnenough money to rebuild the Globe after itburns down during a performance of HenryVIII

Also from Shakespearersquos Globe are twoinnovative video experiences created forchildren aged five to 11 e first Exploring

Shakespeare features two boys on a tour ofthe Globe theatre who sneak off to explorebackstage e video illustrates four plays

using short animations that are keyedto things the boys find backstage etechnology combines live action film andanimation to create an interactive touchablegame Filled with mini-games quizzes andinteresting facts about Shakespeare the gameallows players to click through the narrativeor to stop and learn more as they go along

e second video called Staging It usesthe same technology as the first film but thistime is for the 11-16 age group In this gamee Globe has filmed two actors performingfamous duologues from A MidsummerNightrsquos Dream and Macbeth on the Globestage Rather than shoot it once the actorshave performed their lines in diff erent ways(happy flirtatious defensive and so on)creating several diff erent clips per linePlayers can watch each of the clips and addtheir choice to a dynamic storyboard tobuild up their final scene Impressively theplatform allows for up to 1000000 diff erentcombinations of clips

Apps and Mini-GamesItrsquos when you start to look outside of therealm of popular video game platformslike Xbox or Playstation that Shakespeare

Silent Hill 3 Brush upyour Shakespeare ifyou want to survive

Hemmingsrsquo PlayCompany fromShakespearersquosGlobe

7172019 Shakespeare Magazine 08

httpslidepdfcomreaderfullshakespeare-magazine-08 5056

Shakespeare video games

50 SHAKESPEARE magazine

really starts to pop up wherever you looke ubiquity of Shakespeare is especiallynoticeable when you start to look at apps andmini-games designed for phones and tablets

In 2012 Big Fish Games released aniPhone and iPad game called Hamlet that featured all the main characters ofShakespearersquos play but transposed them intoa save-the-princess narrative puzzle game A time traveller lands in Denmark andaccidentally kills Hamlet and so players mustcomplete his journey for him saving Opheliaand killing Claudiuse Shakespeareancontent is minimal and heavily adapted andyet it fits with the puzzle format in whichShakespeare tends to be found in videogamese Chronicles of Shakespeare Romeo amp

Juliet ande Chronicles of Shakespeare A Midsummer Nightrsquos Dream are lusciously-illustrated puzzle games for the PC In themplayers act as one of the characters from theplays gathering items and clues through aShakespearean environment

Among the literally thousands of appsrelated to Shakespeare that can be found forthe iPad or Android tablet are

e Shakespearean Insult Creator which generates invectives drawn from a wholly Shakespearean vocabulary So nexttime you want to call someone a jerk trysomething more like ldquoou fusty follyfallenfustilarianrdquo

e Shakespeare Translator whichtranslates ldquonormal English words and phrasesinto the words of Shakespeare himselfrdquo

e Shakespeare Fortune Cookie which provides short quotes from the plays

and a small trivia game Shakespeare or Die a game that

scrambles the words of famous quotationsfrom the plays and asks you to identify theplay and character who spoke the line If youmake a mistake however beware the witchesese apps are either explicitly games or

they are coming out of a game-like impulse tomake Shakespeare more accessible to everyone with an internet connection

Brave New WorldsIn a world where Shakespeare is an industrycounted in the millions of dollars per yearit is so easy to forget that Shakespearersquos playsare just that ndash playsere is a sense of joyand fun and happiness embedded in theexperience of watching them Games are oneof the ways that people over the centuries

have tried to recapture that elusive sense ofplayfulness within Shakespeare So it makesperfect sense that now with the advent ofdigital technologies Shakespeare is movinginto the digital world with a vengeance

From big studio games likee ElderScrolls to small apps that can be downloadedfor free from talking bears to immersiveperformance experiences Shakespeare iseverywhere in video games Rather than beingan undiscovered country into which the Bard

is only just beginning to emerge games havein fact engaged with Shakespeare and his works for hundreds of years And they willprobably continue to do so for hundreds ofyears to come

rsquoSpeare is a scrollingarcade-stylegame with addedShakespeare trivia

Hamlet is aShakespeare-themed puzzle fromBig Fish Games

7172019 Shakespeare Magazine 08

httpslidepdfcomreaderfullshakespeare-magazine-08 5156

7172019 Shakespeare Magazine 08

httpslidepdfcomreaderfullshakespeare-magazine-08 5256

Meet thy makers

Helen Mears fell into bardolatryduring her teenage years and has

never recovered She is a volunteersteward at Shakespearersquos Globe

which ensures a regular diet of theBard She teaches English Film andMedia at Suffolk New College and isa specialist in teaching Shakespeareusing active methods Her favouriteShakespearean actor is Jamie Parker

and her favourite plays are the SecondHistory Tetralogy She hopes to

finish her Masters in the AdvancedTeaching of Shakespeare very soonFind her on Twitter hipster_hels

Paul F Cockburn is an Edinburgh-based freelance magazine journalist who specialises in writing about

arts and culture equality issues andpopular science Hersquos sufficiently

grey-haired for his English Literaturetraining to have sort of overlapped

with The BBC Television Shakespeareproject saving at least some of the

plays from death by academiaFind him on Twitter paulfcockburn

Jen Richardson first fell in love withShakespeare as a 15-year-old schoolgirl

ldquoHe got under my skin and hersquos still theretodayrdquo After training with a Manchester-based drama tutor she went on to pursuean acting career Drama remains a greatinterest but her focus is now on sharing

her passion for Shakespeare throughher writing In her spare time Jen is

generally down in Stratford-upon-Avonsitting on her favourite bench behind

Holy Trinity ChurchFind her on Twitter The_JenJen

Andrew Bretz is a sessional instructorof English Literature and Drama

specialising in early modern dramaHe has taught at Wilfrid LaurierUniversity the University of Guelph

Brock University and McMasterUniversity For the past two years he

has taught a special summer intensiveat Ontariorsquos Stratford Festival His PhDdissertation was on the representationof sexual violence on the early modern

stage Find him on TwitterAndrewBretz001

Just some of the contributors to this issue of Shakespeare Magazine

Rosalind Lyons is a painter whohas exhibited widely in both mixedand solo shows with work in UK

and international private collections A life-long love of Shakespeare isreflected in many of her paintings

and a particular recent focus isShakespearersquos Globe theatre where shespent a period as artist-in-residenceShe is currently studying for a PhD

in Painting and ShakespeareanTheatre at Anglia Ruskin University

in CambridgeFind her on Twitter roslyons

52 SHAKESPEARE magazine

Contributors

7172019 Shakespeare Magazine 08

httpslidepdfcomreaderfullshakespeare-magazine-08 5356

7172019 Shakespeare Magazine 08

httpslidepdfcomreaderfullshakespeare-magazine-08 5456

7172019 Shakespeare Magazine 08

httpslidepdfcomreaderfullshakespeare-magazine-08 5556

7172019 Shakespeare Magazine 08

httpslidepdfcomreaderfullshakespeare-magazine-08 5656

Page 43: Shakespeare Magazine 08

7172019 Shakespeare Magazine 08

httpslidepdfcomreaderfullshakespeare-magazine-08 4356

Scotland Shakes

SHAKESPEARE magazine 43

focused on building on the touring side ldquoBecause it was our first ever tour we

did end up taking Romeo and Juliet to theestablished Scottish touring circuitrdquo he addsldquoIt takes a while to build up relationships with the smaller venues thatrsquos going to bean ongoing process for us Even so we weretaking Romeo and Juliet to places like Mulland Stranraer ndash communities and venues thathavenrsquot had a lot of classical theatre comingthrough themrdquo

The choice of play was deliberate too ldquoIt was a production that was ready to go whichhad received five star reviews and sold out itsextended run in the Botanics in 2012 So weknew that the work was good but therersquos nodoubt that for a first tour we wanted to makeit easier for the venues to sell it Most venuesknow they can find an audience for Romeo and Juliet rdquo

In time he hopes that audiences aroundthe rest of Scotland will come to trust the Bardin the Botanics name sufficiently to take on theless familiar plays

ldquoYou just donrsquot know how quickly acommunity is going to turn out for Henry IV yetrdquo he says ldquoHopefully three or four toursdown the line theyrsquore going to turn out forBard in the Botanics ndash and if it happens to be

Henry IV well thatrsquos greatrdquoGiven their reimagining of A MidsummerNightrsquos Dream as a 1920s burlesque musicalis there a particular Bard in the Botanicsapproach to Shakespeare

ldquoOur kind of unofficial motto is lsquoBe BoldBe Braversquordquo Barr says ldquoIf wersquore continuingto stage these plays around 400 years afterShakespearersquos death I think therersquos an urgencyto ask lsquoWhyrsquo It is important to questionlsquoWhat is the story that we want to tellrsquo I wantto see how these plays intersect with historyand todayrsquos society not to present museumpieces

ldquoItrsquos always with an eye to try to releasesomething thatrsquos within the textrdquo Barrinsists ldquoWersquore not remotely interested ininnovation for innovationrsquos sake The playsare masterpieces thatrsquos essentially why wersquorestill doing them 400 years later But to revealsomething thatrsquos unexpected or new thatrsquosimportant to usrdquo

Bard in the Botanics

wwwbardinthebotanicscouk

Rosalind and Audreyin the forest Bardin the Botanicsrsquo As You Like It

7172019 Shakespeare Magazine 08

httpslidepdfcomreaderfullshakespeare-magazine-08 4456

Shakespeare at the Tobacco Factory stf 2016 Seasonco-production with Tobacco Factory Theatres

HAMLETBy William Shakespeare

Directed by Andrew Hilton

Main run Thu 11 February ndash Sat 26 March 2016

In repertoire with Allrsquos Well That Ends WellMon 25 ndash Wed 27 April Sat 30 April 2016

The most famous play in world drama Hamlet

turns a new face to every decade So many

elements - political madness sex murder ndash all

brought together in a drama that is both a thriller

and the profoundest meditation on our human

condition

ldquoThrilling workrdquo The Guardian on Romeo amp Juliet

ldquoBullseyerdquo WhatsOnStage on Romeo amp Juliet

Shakespeare at the Tobacco Factory Friends Priority Booking opens Wed 23 September 10am

wwwstf-theatreorguk

Tobacco Factory Theatres Members Priority Booking opens Wed 16 September 10am

wwwtobaccofactorytheatrescom

Public Booking opens Wed 30 September 10am

Tobacco Factory Box Office 0117 902 0344

ALLrsquoS WELL THAT ENDS WELLBy William Shakespeare

Directed by Andrew Hilton

Main run Thu 31 March ndash Sat 23 April 2016

In repertoire with Hamlet

Thu 28 ndash Fri 29 April Sat 30 April

A young woman using skills bequeathed herby her father saves the French Kingrsquos life and

is rewarded with the right to choose her own

husband But what if the chosen one wonrsquot play

the game How can she get him into bed How

can she make him love her

ldquo There is something approaching real

magic hererdquo The Arts Desk on The School for Scandal

P h o t o s M

a r k D o u e t

Dorothea MyerBennett in Richard III

Benjamin Whitrowand Julia Hills in The

School For Scandal

7172019 Shakespeare Magazine 08

httpslidepdfcomreaderfullshakespeare-magazine-08 4556

7172019 Shakespeare Magazine 08

httpslidepdfcomreaderfullshakespeare-magazine-08 4656

Having conquered

Hollywood and vanquished

the global entertainment

industry video games now

on our culture So where

does the Bard stand in all of

this We sent a Shakespeare

scholar to investigatehellip

Words Andrew Bretz

Shakespeare video games

46 SHAKESPEARE magazine

T eGamersquos A oot Silent Hill is one

big-name gamewhich includesShakespearereferences

7172019 Shakespeare Magazine 08

httpslidepdfcomreaderfullshakespeare-magazine-08 4756

Shakespeare video games

SHAKESPEARE magazine 47

German cardboard Macbeth datingfrom the early1800s

Hamlet reimaginedRyan Northrsquos To Be

Or Not To Be

W

hen you walk intothe wood panelled Victorian Gothicismof the Gail Kern Paster

Reading Room at theFolger Shakespeare Library in WashingtonDC video games are probably the lastthing on your mind Buried deep withinthe archives however are a set of fragilecardboard figures printed in Germany in theearly 1800s representing each of the maincharacters of Macbeth

Nineteenth century German children would play with these figures on smallcardboard stages no bigger than a dollhouseey could replicate the story as it was toldin Shakespeare or use their imagination tochange the ending letting Lady Macbethsurvive and bringing Duncan back from thedead if they so chosee limits of the game were the limits of their imagination

Today the lsquogamificationrsquo of Shakespeareis a big business from Ryan Northrsquos choose-your-own-adventure edition of Hamlet To Be Or Not To Be to IDW Gamesrsquosupcoming Kill Shakespeare board gamebased on the comic of the same name

Gamifying Shakespeare is filtering intoschools libraries and the theatrical worldas well with the University of California atDavis the Stratford Festival in Ontario theGlobeeatre in London and the LondonMetropolitan Archives all experimenting with video game elements in exhibits productionsand research

Why video games In a sense this is thelogical next step in the media development ofShakespeare Hersquos everywhere in other media

books movies merchandise But videogamese answer for that depends on whoyou ask

StorytellingOccasionally individuals or publishinghouses develop video games that try to tellthe story of say Hamlet yet this is relativelyrare One example would be Elsinore a time-looping narrative adventure game set in the world of the play Players play the game as

Ophelia who wakes up knowing that in fourdays the entire court will be dead and shemust do something to stop ite problemis that she is stuck in a time loop reliving thesame four days over and over againat said Shakespearersquos presence in the

video game industry tends to be focused oncitation rather than adaptation of the playsat is video games for Xbox Playstationand other popular gaming systems often

just cite Shakespearersquos plays as a part of acommon cultural heritageese games donrsquotrestage say Hamlet but they quote the playIn these cases Shakespeare is used to establisha point of identification for the audience His writing tells the audience something aboutthe character or the situation

Given that audiences are supposedto be able to identify the quotations asShakespearean it is unsurprising that Hamlet is the most popular text for game designers to

cite Ine Elder Scrolls Online for instancea merchant NPC (non-player character)quotes Polonius when players interact sayingldquoNeither a borrower nor a lender berdquoe words establish the NPCrsquos role as a merchant while fitting the medieval world of thegame In the game LA Noire upon pickingup a fake shrunken head at a crime scene adetective leaps into high melodrama withldquoAlas poor Yorick I knew him Horatiordquoequotation and the clever voice acting establish

7172019 Shakespeare Magazine 08

httpslidepdfcomreaderfullshakespeare-magazine-08 4856

Shakespeare video games

48 SHAKESPEARE magazine

the characterrsquos strait-laced yet macabre senseof humour

Sometimes citing Shakespeare is a partof a critique of a larger theme In the game Mass E ff ect the Elcor are a race of elephantinealiens who preface all statements with adescription of the emotion they are feelingand who speak in a slow monotonous drone As players interact with the expansive worldthey can discover a number of advertisementsfor an all-Elcor Hamlet e idea of theElcor actor ndash the ultimate in a flat woodenperformer ndash having to preface ldquoTo be or not

to berdquo with ldquomorose ruminationrdquo goes beyondthe simple humour of a bad Shakespeareperformance It subtly asks what it is aboutacting (and especially voice acting) that isvaluable

Shakespeare can appear in video gamesnot merely as a marker or contextualisationtool but as a part of a puzzle For example inthe game Silent Hill 3 players must arrange aset of Shakespeare anthologies on a bookshelfin an abandoned shopping mall in order to

proceed in the game At the hardest levelthe puzzle clue takes the form of a poemthat references all the major tragedies Romeoand Juliet King Lear Macbeth Othello andof course Hamlet e bloody nature of thetragedies fits with the bloody nature of theSilent Hill series of games which fall into thesurvival horror genre

Popular video games have also servedas the inspiration for games that engage with Shakespeare in a more direct way For

example Daniel Fischlin at the Universityof Guelph in Ontario Canada led a teamthat created a Flash game called rsquoSpeare Itrsquos

a scrolling arcade-style game suggesting thersquo80s hit Galaga which sees players identifyingand navigating through a series of enemies who turn into words upon being destroyede player progresses through the levelsby collecting the correct words to createShakespearean quotes learning Shakespeareantrivia along the way

ImmersionOne of the most exciting aspects of videogames is the ability to immerse the player inthe world of the game in a way that othermedia simply cannot do Being able to walkaround Prosperorsquos cell Julietrsquos balcony orto stand before the ghost of Hamletrsquos fatheras he cries out ldquoList list O listrdquo ndash theseexperiences are made possible through videogame technology

Students of Scenic Arts at the Universityof Hildesheim in Germany created Projekt ARIEL or SturmMOD in 2008 using a lsquomodrsquo(or modification) to the engine that runs

the game Far Cry 1 e performance artproject allowed users to experience Prosperorsquosisland interacting with certain parts andexploring others Players could walk aroundan imaginative rendition of Prosperorsquos cell and witness or interact with elements of the playincluding diff erent characters like CalibanProspero and Miranda

Four days to savethe Danish court

Elsinore

Another Hamlet reference this timein LA Noire

7172019 Shakespeare Magazine 08

httpslidepdfcomreaderfullshakespeare-magazine-08 4956

Shakespeare video games

SHAKESPEARE magazine 49

Gina Bloom at the University of Californiaat Davis is presently spearheading a projectthat will be demonstrated in the lobby of theStratford Festival theatre in Ontario Canadathis summere project Play the Knave AShakespeare Performance Videogame lets usersdesign a virtual performance space and thenperform a scene from a Shakespeare playinhabiting this constructed space with anavatar As a Davis insider explains ldquoWe use akinect motion capture camera to capture theuserrsquos skeletal data so that players use theirentire bodies to control their avatarrsquos gesturesonscreen all the while reciting the lines from

Shakespearersquos scenerdquo is literally immersesthe players in the scene

Shakespearersquos Globe eatre in Londontook another tactic regarding immersionin the production of the game HemmingsrsquoPlay Company Hosted on the Playgroundportion of the Globersquos website and thusaimed at an audience of children the gamehas players taking on the role of Hemmingsan Elizabethan bear who leads a troupe oftheatrical animals such as Kit the Cat Dekker

the Dog and Slye the Foxe turn-based game leads players through

the vagaries of Elizabethan theatre practicefrom patronage to lost props and the plagueBy the end of the game players must earnenough money to rebuild the Globe after itburns down during a performance of HenryVIII

Also from Shakespearersquos Globe are twoinnovative video experiences created forchildren aged five to 11 e first Exploring

Shakespeare features two boys on a tour ofthe Globe theatre who sneak off to explorebackstage e video illustrates four plays

using short animations that are keyedto things the boys find backstage etechnology combines live action film andanimation to create an interactive touchablegame Filled with mini-games quizzes andinteresting facts about Shakespeare the gameallows players to click through the narrativeor to stop and learn more as they go along

e second video called Staging It usesthe same technology as the first film but thistime is for the 11-16 age group In this gamee Globe has filmed two actors performingfamous duologues from A MidsummerNightrsquos Dream and Macbeth on the Globestage Rather than shoot it once the actorshave performed their lines in diff erent ways(happy flirtatious defensive and so on)creating several diff erent clips per linePlayers can watch each of the clips and addtheir choice to a dynamic storyboard tobuild up their final scene Impressively theplatform allows for up to 1000000 diff erentcombinations of clips

Apps and Mini-GamesItrsquos when you start to look outside of therealm of popular video game platformslike Xbox or Playstation that Shakespeare

Silent Hill 3 Brush upyour Shakespeare ifyou want to survive

Hemmingsrsquo PlayCompany fromShakespearersquosGlobe

7172019 Shakespeare Magazine 08

httpslidepdfcomreaderfullshakespeare-magazine-08 5056

Shakespeare video games

50 SHAKESPEARE magazine

really starts to pop up wherever you looke ubiquity of Shakespeare is especiallynoticeable when you start to look at apps andmini-games designed for phones and tablets

In 2012 Big Fish Games released aniPhone and iPad game called Hamlet that featured all the main characters ofShakespearersquos play but transposed them intoa save-the-princess narrative puzzle game A time traveller lands in Denmark andaccidentally kills Hamlet and so players mustcomplete his journey for him saving Opheliaand killing Claudiuse Shakespeareancontent is minimal and heavily adapted andyet it fits with the puzzle format in whichShakespeare tends to be found in videogamese Chronicles of Shakespeare Romeo amp

Juliet ande Chronicles of Shakespeare A Midsummer Nightrsquos Dream are lusciously-illustrated puzzle games for the PC In themplayers act as one of the characters from theplays gathering items and clues through aShakespearean environment

Among the literally thousands of appsrelated to Shakespeare that can be found forthe iPad or Android tablet are

e Shakespearean Insult Creator which generates invectives drawn from a wholly Shakespearean vocabulary So nexttime you want to call someone a jerk trysomething more like ldquoou fusty follyfallenfustilarianrdquo

e Shakespeare Translator whichtranslates ldquonormal English words and phrasesinto the words of Shakespeare himselfrdquo

e Shakespeare Fortune Cookie which provides short quotes from the plays

and a small trivia game Shakespeare or Die a game that

scrambles the words of famous quotationsfrom the plays and asks you to identify theplay and character who spoke the line If youmake a mistake however beware the witchesese apps are either explicitly games or

they are coming out of a game-like impulse tomake Shakespeare more accessible to everyone with an internet connection

Brave New WorldsIn a world where Shakespeare is an industrycounted in the millions of dollars per yearit is so easy to forget that Shakespearersquos playsare just that ndash playsere is a sense of joyand fun and happiness embedded in theexperience of watching them Games are oneof the ways that people over the centuries

have tried to recapture that elusive sense ofplayfulness within Shakespeare So it makesperfect sense that now with the advent ofdigital technologies Shakespeare is movinginto the digital world with a vengeance

From big studio games likee ElderScrolls to small apps that can be downloadedfor free from talking bears to immersiveperformance experiences Shakespeare iseverywhere in video games Rather than beingan undiscovered country into which the Bard

is only just beginning to emerge games havein fact engaged with Shakespeare and his works for hundreds of years And they willprobably continue to do so for hundreds ofyears to come

rsquoSpeare is a scrollingarcade-stylegame with addedShakespeare trivia

Hamlet is aShakespeare-themed puzzle fromBig Fish Games

7172019 Shakespeare Magazine 08

httpslidepdfcomreaderfullshakespeare-magazine-08 5156

7172019 Shakespeare Magazine 08

httpslidepdfcomreaderfullshakespeare-magazine-08 5256

Meet thy makers

Helen Mears fell into bardolatryduring her teenage years and has

never recovered She is a volunteersteward at Shakespearersquos Globe

which ensures a regular diet of theBard She teaches English Film andMedia at Suffolk New College and isa specialist in teaching Shakespeareusing active methods Her favouriteShakespearean actor is Jamie Parker

and her favourite plays are the SecondHistory Tetralogy She hopes to

finish her Masters in the AdvancedTeaching of Shakespeare very soonFind her on Twitter hipster_hels

Paul F Cockburn is an Edinburgh-based freelance magazine journalist who specialises in writing about

arts and culture equality issues andpopular science Hersquos sufficiently

grey-haired for his English Literaturetraining to have sort of overlapped

with The BBC Television Shakespeareproject saving at least some of the

plays from death by academiaFind him on Twitter paulfcockburn

Jen Richardson first fell in love withShakespeare as a 15-year-old schoolgirl

ldquoHe got under my skin and hersquos still theretodayrdquo After training with a Manchester-based drama tutor she went on to pursuean acting career Drama remains a greatinterest but her focus is now on sharing

her passion for Shakespeare throughher writing In her spare time Jen is

generally down in Stratford-upon-Avonsitting on her favourite bench behind

Holy Trinity ChurchFind her on Twitter The_JenJen

Andrew Bretz is a sessional instructorof English Literature and Drama

specialising in early modern dramaHe has taught at Wilfrid LaurierUniversity the University of Guelph

Brock University and McMasterUniversity For the past two years he

has taught a special summer intensiveat Ontariorsquos Stratford Festival His PhDdissertation was on the representationof sexual violence on the early modern

stage Find him on TwitterAndrewBretz001

Just some of the contributors to this issue of Shakespeare Magazine

Rosalind Lyons is a painter whohas exhibited widely in both mixedand solo shows with work in UK

and international private collections A life-long love of Shakespeare isreflected in many of her paintings

and a particular recent focus isShakespearersquos Globe theatre where shespent a period as artist-in-residenceShe is currently studying for a PhD

in Painting and ShakespeareanTheatre at Anglia Ruskin University

in CambridgeFind her on Twitter roslyons

52 SHAKESPEARE magazine

Contributors

7172019 Shakespeare Magazine 08

httpslidepdfcomreaderfullshakespeare-magazine-08 5356

7172019 Shakespeare Magazine 08

httpslidepdfcomreaderfullshakespeare-magazine-08 5456

7172019 Shakespeare Magazine 08

httpslidepdfcomreaderfullshakespeare-magazine-08 5556

7172019 Shakespeare Magazine 08

httpslidepdfcomreaderfullshakespeare-magazine-08 5656

Page 44: Shakespeare Magazine 08

7172019 Shakespeare Magazine 08

httpslidepdfcomreaderfullshakespeare-magazine-08 4456

Shakespeare at the Tobacco Factory stf 2016 Seasonco-production with Tobacco Factory Theatres

HAMLETBy William Shakespeare

Directed by Andrew Hilton

Main run Thu 11 February ndash Sat 26 March 2016

In repertoire with Allrsquos Well That Ends WellMon 25 ndash Wed 27 April Sat 30 April 2016

The most famous play in world drama Hamlet

turns a new face to every decade So many

elements - political madness sex murder ndash all

brought together in a drama that is both a thriller

and the profoundest meditation on our human

condition

ldquoThrilling workrdquo The Guardian on Romeo amp Juliet

ldquoBullseyerdquo WhatsOnStage on Romeo amp Juliet

Shakespeare at the Tobacco Factory Friends Priority Booking opens Wed 23 September 10am

wwwstf-theatreorguk

Tobacco Factory Theatres Members Priority Booking opens Wed 16 September 10am

wwwtobaccofactorytheatrescom

Public Booking opens Wed 30 September 10am

Tobacco Factory Box Office 0117 902 0344

ALLrsquoS WELL THAT ENDS WELLBy William Shakespeare

Directed by Andrew Hilton

Main run Thu 31 March ndash Sat 23 April 2016

In repertoire with Hamlet

Thu 28 ndash Fri 29 April Sat 30 April

A young woman using skills bequeathed herby her father saves the French Kingrsquos life and

is rewarded with the right to choose her own

husband But what if the chosen one wonrsquot play

the game How can she get him into bed How

can she make him love her

ldquo There is something approaching real

magic hererdquo The Arts Desk on The School for Scandal

P h o t o s M

a r k D o u e t

Dorothea MyerBennett in Richard III

Benjamin Whitrowand Julia Hills in The

School For Scandal

7172019 Shakespeare Magazine 08

httpslidepdfcomreaderfullshakespeare-magazine-08 4556

7172019 Shakespeare Magazine 08

httpslidepdfcomreaderfullshakespeare-magazine-08 4656

Having conquered

Hollywood and vanquished

the global entertainment

industry video games now

on our culture So where

does the Bard stand in all of

this We sent a Shakespeare

scholar to investigatehellip

Words Andrew Bretz

Shakespeare video games

46 SHAKESPEARE magazine

T eGamersquos A oot Silent Hill is one

big-name gamewhich includesShakespearereferences

7172019 Shakespeare Magazine 08

httpslidepdfcomreaderfullshakespeare-magazine-08 4756

Shakespeare video games

SHAKESPEARE magazine 47

German cardboard Macbeth datingfrom the early1800s

Hamlet reimaginedRyan Northrsquos To Be

Or Not To Be

W

hen you walk intothe wood panelled Victorian Gothicismof the Gail Kern Paster

Reading Room at theFolger Shakespeare Library in WashingtonDC video games are probably the lastthing on your mind Buried deep withinthe archives however are a set of fragilecardboard figures printed in Germany in theearly 1800s representing each of the maincharacters of Macbeth

Nineteenth century German children would play with these figures on smallcardboard stages no bigger than a dollhouseey could replicate the story as it was toldin Shakespeare or use their imagination tochange the ending letting Lady Macbethsurvive and bringing Duncan back from thedead if they so chosee limits of the game were the limits of their imagination

Today the lsquogamificationrsquo of Shakespeareis a big business from Ryan Northrsquos choose-your-own-adventure edition of Hamlet To Be Or Not To Be to IDW Gamesrsquosupcoming Kill Shakespeare board gamebased on the comic of the same name

Gamifying Shakespeare is filtering intoschools libraries and the theatrical worldas well with the University of California atDavis the Stratford Festival in Ontario theGlobeeatre in London and the LondonMetropolitan Archives all experimenting with video game elements in exhibits productionsand research

Why video games In a sense this is thelogical next step in the media development ofShakespeare Hersquos everywhere in other media

books movies merchandise But videogamese answer for that depends on whoyou ask

StorytellingOccasionally individuals or publishinghouses develop video games that try to tellthe story of say Hamlet yet this is relativelyrare One example would be Elsinore a time-looping narrative adventure game set in the world of the play Players play the game as

Ophelia who wakes up knowing that in fourdays the entire court will be dead and shemust do something to stop ite problemis that she is stuck in a time loop reliving thesame four days over and over againat said Shakespearersquos presence in the

video game industry tends to be focused oncitation rather than adaptation of the playsat is video games for Xbox Playstationand other popular gaming systems often

just cite Shakespearersquos plays as a part of acommon cultural heritageese games donrsquotrestage say Hamlet but they quote the playIn these cases Shakespeare is used to establisha point of identification for the audience His writing tells the audience something aboutthe character or the situation

Given that audiences are supposedto be able to identify the quotations asShakespearean it is unsurprising that Hamlet is the most popular text for game designers to

cite Ine Elder Scrolls Online for instancea merchant NPC (non-player character)quotes Polonius when players interact sayingldquoNeither a borrower nor a lender berdquoe words establish the NPCrsquos role as a merchant while fitting the medieval world of thegame In the game LA Noire upon pickingup a fake shrunken head at a crime scene adetective leaps into high melodrama withldquoAlas poor Yorick I knew him Horatiordquoequotation and the clever voice acting establish

7172019 Shakespeare Magazine 08

httpslidepdfcomreaderfullshakespeare-magazine-08 4856

Shakespeare video games

48 SHAKESPEARE magazine

the characterrsquos strait-laced yet macabre senseof humour

Sometimes citing Shakespeare is a partof a critique of a larger theme In the game Mass E ff ect the Elcor are a race of elephantinealiens who preface all statements with adescription of the emotion they are feelingand who speak in a slow monotonous drone As players interact with the expansive worldthey can discover a number of advertisementsfor an all-Elcor Hamlet e idea of theElcor actor ndash the ultimate in a flat woodenperformer ndash having to preface ldquoTo be or not

to berdquo with ldquomorose ruminationrdquo goes beyondthe simple humour of a bad Shakespeareperformance It subtly asks what it is aboutacting (and especially voice acting) that isvaluable

Shakespeare can appear in video gamesnot merely as a marker or contextualisationtool but as a part of a puzzle For example inthe game Silent Hill 3 players must arrange aset of Shakespeare anthologies on a bookshelfin an abandoned shopping mall in order to

proceed in the game At the hardest levelthe puzzle clue takes the form of a poemthat references all the major tragedies Romeoand Juliet King Lear Macbeth Othello andof course Hamlet e bloody nature of thetragedies fits with the bloody nature of theSilent Hill series of games which fall into thesurvival horror genre

Popular video games have also servedas the inspiration for games that engage with Shakespeare in a more direct way For

example Daniel Fischlin at the Universityof Guelph in Ontario Canada led a teamthat created a Flash game called rsquoSpeare Itrsquos

a scrolling arcade-style game suggesting thersquo80s hit Galaga which sees players identifyingand navigating through a series of enemies who turn into words upon being destroyede player progresses through the levelsby collecting the correct words to createShakespearean quotes learning Shakespeareantrivia along the way

ImmersionOne of the most exciting aspects of videogames is the ability to immerse the player inthe world of the game in a way that othermedia simply cannot do Being able to walkaround Prosperorsquos cell Julietrsquos balcony orto stand before the ghost of Hamletrsquos fatheras he cries out ldquoList list O listrdquo ndash theseexperiences are made possible through videogame technology

Students of Scenic Arts at the Universityof Hildesheim in Germany created Projekt ARIEL or SturmMOD in 2008 using a lsquomodrsquo(or modification) to the engine that runs

the game Far Cry 1 e performance artproject allowed users to experience Prosperorsquosisland interacting with certain parts andexploring others Players could walk aroundan imaginative rendition of Prosperorsquos cell and witness or interact with elements of the playincluding diff erent characters like CalibanProspero and Miranda

Four days to savethe Danish court

Elsinore

Another Hamlet reference this timein LA Noire

7172019 Shakespeare Magazine 08

httpslidepdfcomreaderfullshakespeare-magazine-08 4956

Shakespeare video games

SHAKESPEARE magazine 49

Gina Bloom at the University of Californiaat Davis is presently spearheading a projectthat will be demonstrated in the lobby of theStratford Festival theatre in Ontario Canadathis summere project Play the Knave AShakespeare Performance Videogame lets usersdesign a virtual performance space and thenperform a scene from a Shakespeare playinhabiting this constructed space with anavatar As a Davis insider explains ldquoWe use akinect motion capture camera to capture theuserrsquos skeletal data so that players use theirentire bodies to control their avatarrsquos gesturesonscreen all the while reciting the lines from

Shakespearersquos scenerdquo is literally immersesthe players in the scene

Shakespearersquos Globe eatre in Londontook another tactic regarding immersionin the production of the game HemmingsrsquoPlay Company Hosted on the Playgroundportion of the Globersquos website and thusaimed at an audience of children the gamehas players taking on the role of Hemmingsan Elizabethan bear who leads a troupe oftheatrical animals such as Kit the Cat Dekker

the Dog and Slye the Foxe turn-based game leads players through

the vagaries of Elizabethan theatre practicefrom patronage to lost props and the plagueBy the end of the game players must earnenough money to rebuild the Globe after itburns down during a performance of HenryVIII

Also from Shakespearersquos Globe are twoinnovative video experiences created forchildren aged five to 11 e first Exploring

Shakespeare features two boys on a tour ofthe Globe theatre who sneak off to explorebackstage e video illustrates four plays

using short animations that are keyedto things the boys find backstage etechnology combines live action film andanimation to create an interactive touchablegame Filled with mini-games quizzes andinteresting facts about Shakespeare the gameallows players to click through the narrativeor to stop and learn more as they go along

e second video called Staging It usesthe same technology as the first film but thistime is for the 11-16 age group In this gamee Globe has filmed two actors performingfamous duologues from A MidsummerNightrsquos Dream and Macbeth on the Globestage Rather than shoot it once the actorshave performed their lines in diff erent ways(happy flirtatious defensive and so on)creating several diff erent clips per linePlayers can watch each of the clips and addtheir choice to a dynamic storyboard tobuild up their final scene Impressively theplatform allows for up to 1000000 diff erentcombinations of clips

Apps and Mini-GamesItrsquos when you start to look outside of therealm of popular video game platformslike Xbox or Playstation that Shakespeare

Silent Hill 3 Brush upyour Shakespeare ifyou want to survive

Hemmingsrsquo PlayCompany fromShakespearersquosGlobe

7172019 Shakespeare Magazine 08

httpslidepdfcomreaderfullshakespeare-magazine-08 5056

Shakespeare video games

50 SHAKESPEARE magazine

really starts to pop up wherever you looke ubiquity of Shakespeare is especiallynoticeable when you start to look at apps andmini-games designed for phones and tablets

In 2012 Big Fish Games released aniPhone and iPad game called Hamlet that featured all the main characters ofShakespearersquos play but transposed them intoa save-the-princess narrative puzzle game A time traveller lands in Denmark andaccidentally kills Hamlet and so players mustcomplete his journey for him saving Opheliaand killing Claudiuse Shakespeareancontent is minimal and heavily adapted andyet it fits with the puzzle format in whichShakespeare tends to be found in videogamese Chronicles of Shakespeare Romeo amp

Juliet ande Chronicles of Shakespeare A Midsummer Nightrsquos Dream are lusciously-illustrated puzzle games for the PC In themplayers act as one of the characters from theplays gathering items and clues through aShakespearean environment

Among the literally thousands of appsrelated to Shakespeare that can be found forthe iPad or Android tablet are

e Shakespearean Insult Creator which generates invectives drawn from a wholly Shakespearean vocabulary So nexttime you want to call someone a jerk trysomething more like ldquoou fusty follyfallenfustilarianrdquo

e Shakespeare Translator whichtranslates ldquonormal English words and phrasesinto the words of Shakespeare himselfrdquo

e Shakespeare Fortune Cookie which provides short quotes from the plays

and a small trivia game Shakespeare or Die a game that

scrambles the words of famous quotationsfrom the plays and asks you to identify theplay and character who spoke the line If youmake a mistake however beware the witchesese apps are either explicitly games or

they are coming out of a game-like impulse tomake Shakespeare more accessible to everyone with an internet connection

Brave New WorldsIn a world where Shakespeare is an industrycounted in the millions of dollars per yearit is so easy to forget that Shakespearersquos playsare just that ndash playsere is a sense of joyand fun and happiness embedded in theexperience of watching them Games are oneof the ways that people over the centuries

have tried to recapture that elusive sense ofplayfulness within Shakespeare So it makesperfect sense that now with the advent ofdigital technologies Shakespeare is movinginto the digital world with a vengeance

From big studio games likee ElderScrolls to small apps that can be downloadedfor free from talking bears to immersiveperformance experiences Shakespeare iseverywhere in video games Rather than beingan undiscovered country into which the Bard

is only just beginning to emerge games havein fact engaged with Shakespeare and his works for hundreds of years And they willprobably continue to do so for hundreds ofyears to come

rsquoSpeare is a scrollingarcade-stylegame with addedShakespeare trivia

Hamlet is aShakespeare-themed puzzle fromBig Fish Games

7172019 Shakespeare Magazine 08

httpslidepdfcomreaderfullshakespeare-magazine-08 5156

7172019 Shakespeare Magazine 08

httpslidepdfcomreaderfullshakespeare-magazine-08 5256

Meet thy makers

Helen Mears fell into bardolatryduring her teenage years and has

never recovered She is a volunteersteward at Shakespearersquos Globe

which ensures a regular diet of theBard She teaches English Film andMedia at Suffolk New College and isa specialist in teaching Shakespeareusing active methods Her favouriteShakespearean actor is Jamie Parker

and her favourite plays are the SecondHistory Tetralogy She hopes to

finish her Masters in the AdvancedTeaching of Shakespeare very soonFind her on Twitter hipster_hels

Paul F Cockburn is an Edinburgh-based freelance magazine journalist who specialises in writing about

arts and culture equality issues andpopular science Hersquos sufficiently

grey-haired for his English Literaturetraining to have sort of overlapped

with The BBC Television Shakespeareproject saving at least some of the

plays from death by academiaFind him on Twitter paulfcockburn

Jen Richardson first fell in love withShakespeare as a 15-year-old schoolgirl

ldquoHe got under my skin and hersquos still theretodayrdquo After training with a Manchester-based drama tutor she went on to pursuean acting career Drama remains a greatinterest but her focus is now on sharing

her passion for Shakespeare throughher writing In her spare time Jen is

generally down in Stratford-upon-Avonsitting on her favourite bench behind

Holy Trinity ChurchFind her on Twitter The_JenJen

Andrew Bretz is a sessional instructorof English Literature and Drama

specialising in early modern dramaHe has taught at Wilfrid LaurierUniversity the University of Guelph

Brock University and McMasterUniversity For the past two years he

has taught a special summer intensiveat Ontariorsquos Stratford Festival His PhDdissertation was on the representationof sexual violence on the early modern

stage Find him on TwitterAndrewBretz001

Just some of the contributors to this issue of Shakespeare Magazine

Rosalind Lyons is a painter whohas exhibited widely in both mixedand solo shows with work in UK

and international private collections A life-long love of Shakespeare isreflected in many of her paintings

and a particular recent focus isShakespearersquos Globe theatre where shespent a period as artist-in-residenceShe is currently studying for a PhD

in Painting and ShakespeareanTheatre at Anglia Ruskin University

in CambridgeFind her on Twitter roslyons

52 SHAKESPEARE magazine

Contributors

7172019 Shakespeare Magazine 08

httpslidepdfcomreaderfullshakespeare-magazine-08 5356

7172019 Shakespeare Magazine 08

httpslidepdfcomreaderfullshakespeare-magazine-08 5456

7172019 Shakespeare Magazine 08

httpslidepdfcomreaderfullshakespeare-magazine-08 5556

7172019 Shakespeare Magazine 08

httpslidepdfcomreaderfullshakespeare-magazine-08 5656

Page 45: Shakespeare Magazine 08

7172019 Shakespeare Magazine 08

httpslidepdfcomreaderfullshakespeare-magazine-08 4556

7172019 Shakespeare Magazine 08

httpslidepdfcomreaderfullshakespeare-magazine-08 4656

Having conquered

Hollywood and vanquished

the global entertainment

industry video games now

on our culture So where

does the Bard stand in all of

this We sent a Shakespeare

scholar to investigatehellip

Words Andrew Bretz

Shakespeare video games

46 SHAKESPEARE magazine

T eGamersquos A oot Silent Hill is one

big-name gamewhich includesShakespearereferences

7172019 Shakespeare Magazine 08

httpslidepdfcomreaderfullshakespeare-magazine-08 4756

Shakespeare video games

SHAKESPEARE magazine 47

German cardboard Macbeth datingfrom the early1800s

Hamlet reimaginedRyan Northrsquos To Be

Or Not To Be

W

hen you walk intothe wood panelled Victorian Gothicismof the Gail Kern Paster

Reading Room at theFolger Shakespeare Library in WashingtonDC video games are probably the lastthing on your mind Buried deep withinthe archives however are a set of fragilecardboard figures printed in Germany in theearly 1800s representing each of the maincharacters of Macbeth

Nineteenth century German children would play with these figures on smallcardboard stages no bigger than a dollhouseey could replicate the story as it was toldin Shakespeare or use their imagination tochange the ending letting Lady Macbethsurvive and bringing Duncan back from thedead if they so chosee limits of the game were the limits of their imagination

Today the lsquogamificationrsquo of Shakespeareis a big business from Ryan Northrsquos choose-your-own-adventure edition of Hamlet To Be Or Not To Be to IDW Gamesrsquosupcoming Kill Shakespeare board gamebased on the comic of the same name

Gamifying Shakespeare is filtering intoschools libraries and the theatrical worldas well with the University of California atDavis the Stratford Festival in Ontario theGlobeeatre in London and the LondonMetropolitan Archives all experimenting with video game elements in exhibits productionsand research

Why video games In a sense this is thelogical next step in the media development ofShakespeare Hersquos everywhere in other media

books movies merchandise But videogamese answer for that depends on whoyou ask

StorytellingOccasionally individuals or publishinghouses develop video games that try to tellthe story of say Hamlet yet this is relativelyrare One example would be Elsinore a time-looping narrative adventure game set in the world of the play Players play the game as

Ophelia who wakes up knowing that in fourdays the entire court will be dead and shemust do something to stop ite problemis that she is stuck in a time loop reliving thesame four days over and over againat said Shakespearersquos presence in the

video game industry tends to be focused oncitation rather than adaptation of the playsat is video games for Xbox Playstationand other popular gaming systems often

just cite Shakespearersquos plays as a part of acommon cultural heritageese games donrsquotrestage say Hamlet but they quote the playIn these cases Shakespeare is used to establisha point of identification for the audience His writing tells the audience something aboutthe character or the situation

Given that audiences are supposedto be able to identify the quotations asShakespearean it is unsurprising that Hamlet is the most popular text for game designers to

cite Ine Elder Scrolls Online for instancea merchant NPC (non-player character)quotes Polonius when players interact sayingldquoNeither a borrower nor a lender berdquoe words establish the NPCrsquos role as a merchant while fitting the medieval world of thegame In the game LA Noire upon pickingup a fake shrunken head at a crime scene adetective leaps into high melodrama withldquoAlas poor Yorick I knew him Horatiordquoequotation and the clever voice acting establish

7172019 Shakespeare Magazine 08

httpslidepdfcomreaderfullshakespeare-magazine-08 4856

Shakespeare video games

48 SHAKESPEARE magazine

the characterrsquos strait-laced yet macabre senseof humour

Sometimes citing Shakespeare is a partof a critique of a larger theme In the game Mass E ff ect the Elcor are a race of elephantinealiens who preface all statements with adescription of the emotion they are feelingand who speak in a slow monotonous drone As players interact with the expansive worldthey can discover a number of advertisementsfor an all-Elcor Hamlet e idea of theElcor actor ndash the ultimate in a flat woodenperformer ndash having to preface ldquoTo be or not

to berdquo with ldquomorose ruminationrdquo goes beyondthe simple humour of a bad Shakespeareperformance It subtly asks what it is aboutacting (and especially voice acting) that isvaluable

Shakespeare can appear in video gamesnot merely as a marker or contextualisationtool but as a part of a puzzle For example inthe game Silent Hill 3 players must arrange aset of Shakespeare anthologies on a bookshelfin an abandoned shopping mall in order to

proceed in the game At the hardest levelthe puzzle clue takes the form of a poemthat references all the major tragedies Romeoand Juliet King Lear Macbeth Othello andof course Hamlet e bloody nature of thetragedies fits with the bloody nature of theSilent Hill series of games which fall into thesurvival horror genre

Popular video games have also servedas the inspiration for games that engage with Shakespeare in a more direct way For

example Daniel Fischlin at the Universityof Guelph in Ontario Canada led a teamthat created a Flash game called rsquoSpeare Itrsquos

a scrolling arcade-style game suggesting thersquo80s hit Galaga which sees players identifyingand navigating through a series of enemies who turn into words upon being destroyede player progresses through the levelsby collecting the correct words to createShakespearean quotes learning Shakespeareantrivia along the way

ImmersionOne of the most exciting aspects of videogames is the ability to immerse the player inthe world of the game in a way that othermedia simply cannot do Being able to walkaround Prosperorsquos cell Julietrsquos balcony orto stand before the ghost of Hamletrsquos fatheras he cries out ldquoList list O listrdquo ndash theseexperiences are made possible through videogame technology

Students of Scenic Arts at the Universityof Hildesheim in Germany created Projekt ARIEL or SturmMOD in 2008 using a lsquomodrsquo(or modification) to the engine that runs

the game Far Cry 1 e performance artproject allowed users to experience Prosperorsquosisland interacting with certain parts andexploring others Players could walk aroundan imaginative rendition of Prosperorsquos cell and witness or interact with elements of the playincluding diff erent characters like CalibanProspero and Miranda

Four days to savethe Danish court

Elsinore

Another Hamlet reference this timein LA Noire

7172019 Shakespeare Magazine 08

httpslidepdfcomreaderfullshakespeare-magazine-08 4956

Shakespeare video games

SHAKESPEARE magazine 49

Gina Bloom at the University of Californiaat Davis is presently spearheading a projectthat will be demonstrated in the lobby of theStratford Festival theatre in Ontario Canadathis summere project Play the Knave AShakespeare Performance Videogame lets usersdesign a virtual performance space and thenperform a scene from a Shakespeare playinhabiting this constructed space with anavatar As a Davis insider explains ldquoWe use akinect motion capture camera to capture theuserrsquos skeletal data so that players use theirentire bodies to control their avatarrsquos gesturesonscreen all the while reciting the lines from

Shakespearersquos scenerdquo is literally immersesthe players in the scene

Shakespearersquos Globe eatre in Londontook another tactic regarding immersionin the production of the game HemmingsrsquoPlay Company Hosted on the Playgroundportion of the Globersquos website and thusaimed at an audience of children the gamehas players taking on the role of Hemmingsan Elizabethan bear who leads a troupe oftheatrical animals such as Kit the Cat Dekker

the Dog and Slye the Foxe turn-based game leads players through

the vagaries of Elizabethan theatre practicefrom patronage to lost props and the plagueBy the end of the game players must earnenough money to rebuild the Globe after itburns down during a performance of HenryVIII

Also from Shakespearersquos Globe are twoinnovative video experiences created forchildren aged five to 11 e first Exploring

Shakespeare features two boys on a tour ofthe Globe theatre who sneak off to explorebackstage e video illustrates four plays

using short animations that are keyedto things the boys find backstage etechnology combines live action film andanimation to create an interactive touchablegame Filled with mini-games quizzes andinteresting facts about Shakespeare the gameallows players to click through the narrativeor to stop and learn more as they go along

e second video called Staging It usesthe same technology as the first film but thistime is for the 11-16 age group In this gamee Globe has filmed two actors performingfamous duologues from A MidsummerNightrsquos Dream and Macbeth on the Globestage Rather than shoot it once the actorshave performed their lines in diff erent ways(happy flirtatious defensive and so on)creating several diff erent clips per linePlayers can watch each of the clips and addtheir choice to a dynamic storyboard tobuild up their final scene Impressively theplatform allows for up to 1000000 diff erentcombinations of clips

Apps and Mini-GamesItrsquos when you start to look outside of therealm of popular video game platformslike Xbox or Playstation that Shakespeare

Silent Hill 3 Brush upyour Shakespeare ifyou want to survive

Hemmingsrsquo PlayCompany fromShakespearersquosGlobe

7172019 Shakespeare Magazine 08

httpslidepdfcomreaderfullshakespeare-magazine-08 5056

Shakespeare video games

50 SHAKESPEARE magazine

really starts to pop up wherever you looke ubiquity of Shakespeare is especiallynoticeable when you start to look at apps andmini-games designed for phones and tablets

In 2012 Big Fish Games released aniPhone and iPad game called Hamlet that featured all the main characters ofShakespearersquos play but transposed them intoa save-the-princess narrative puzzle game A time traveller lands in Denmark andaccidentally kills Hamlet and so players mustcomplete his journey for him saving Opheliaand killing Claudiuse Shakespeareancontent is minimal and heavily adapted andyet it fits with the puzzle format in whichShakespeare tends to be found in videogamese Chronicles of Shakespeare Romeo amp

Juliet ande Chronicles of Shakespeare A Midsummer Nightrsquos Dream are lusciously-illustrated puzzle games for the PC In themplayers act as one of the characters from theplays gathering items and clues through aShakespearean environment

Among the literally thousands of appsrelated to Shakespeare that can be found forthe iPad or Android tablet are

e Shakespearean Insult Creator which generates invectives drawn from a wholly Shakespearean vocabulary So nexttime you want to call someone a jerk trysomething more like ldquoou fusty follyfallenfustilarianrdquo

e Shakespeare Translator whichtranslates ldquonormal English words and phrasesinto the words of Shakespeare himselfrdquo

e Shakespeare Fortune Cookie which provides short quotes from the plays

and a small trivia game Shakespeare or Die a game that

scrambles the words of famous quotationsfrom the plays and asks you to identify theplay and character who spoke the line If youmake a mistake however beware the witchesese apps are either explicitly games or

they are coming out of a game-like impulse tomake Shakespeare more accessible to everyone with an internet connection

Brave New WorldsIn a world where Shakespeare is an industrycounted in the millions of dollars per yearit is so easy to forget that Shakespearersquos playsare just that ndash playsere is a sense of joyand fun and happiness embedded in theexperience of watching them Games are oneof the ways that people over the centuries

have tried to recapture that elusive sense ofplayfulness within Shakespeare So it makesperfect sense that now with the advent ofdigital technologies Shakespeare is movinginto the digital world with a vengeance

From big studio games likee ElderScrolls to small apps that can be downloadedfor free from talking bears to immersiveperformance experiences Shakespeare iseverywhere in video games Rather than beingan undiscovered country into which the Bard

is only just beginning to emerge games havein fact engaged with Shakespeare and his works for hundreds of years And they willprobably continue to do so for hundreds ofyears to come

rsquoSpeare is a scrollingarcade-stylegame with addedShakespeare trivia

Hamlet is aShakespeare-themed puzzle fromBig Fish Games

7172019 Shakespeare Magazine 08

httpslidepdfcomreaderfullshakespeare-magazine-08 5156

7172019 Shakespeare Magazine 08

httpslidepdfcomreaderfullshakespeare-magazine-08 5256

Meet thy makers

Helen Mears fell into bardolatryduring her teenage years and has

never recovered She is a volunteersteward at Shakespearersquos Globe

which ensures a regular diet of theBard She teaches English Film andMedia at Suffolk New College and isa specialist in teaching Shakespeareusing active methods Her favouriteShakespearean actor is Jamie Parker

and her favourite plays are the SecondHistory Tetralogy She hopes to

finish her Masters in the AdvancedTeaching of Shakespeare very soonFind her on Twitter hipster_hels

Paul F Cockburn is an Edinburgh-based freelance magazine journalist who specialises in writing about

arts and culture equality issues andpopular science Hersquos sufficiently

grey-haired for his English Literaturetraining to have sort of overlapped

with The BBC Television Shakespeareproject saving at least some of the

plays from death by academiaFind him on Twitter paulfcockburn

Jen Richardson first fell in love withShakespeare as a 15-year-old schoolgirl

ldquoHe got under my skin and hersquos still theretodayrdquo After training with a Manchester-based drama tutor she went on to pursuean acting career Drama remains a greatinterest but her focus is now on sharing

her passion for Shakespeare throughher writing In her spare time Jen is

generally down in Stratford-upon-Avonsitting on her favourite bench behind

Holy Trinity ChurchFind her on Twitter The_JenJen

Andrew Bretz is a sessional instructorof English Literature and Drama

specialising in early modern dramaHe has taught at Wilfrid LaurierUniversity the University of Guelph

Brock University and McMasterUniversity For the past two years he

has taught a special summer intensiveat Ontariorsquos Stratford Festival His PhDdissertation was on the representationof sexual violence on the early modern

stage Find him on TwitterAndrewBretz001

Just some of the contributors to this issue of Shakespeare Magazine

Rosalind Lyons is a painter whohas exhibited widely in both mixedand solo shows with work in UK

and international private collections A life-long love of Shakespeare isreflected in many of her paintings

and a particular recent focus isShakespearersquos Globe theatre where shespent a period as artist-in-residenceShe is currently studying for a PhD

in Painting and ShakespeareanTheatre at Anglia Ruskin University

in CambridgeFind her on Twitter roslyons

52 SHAKESPEARE magazine

Contributors

7172019 Shakespeare Magazine 08

httpslidepdfcomreaderfullshakespeare-magazine-08 5356

7172019 Shakespeare Magazine 08

httpslidepdfcomreaderfullshakespeare-magazine-08 5456

7172019 Shakespeare Magazine 08

httpslidepdfcomreaderfullshakespeare-magazine-08 5556

7172019 Shakespeare Magazine 08

httpslidepdfcomreaderfullshakespeare-magazine-08 5656

Page 46: Shakespeare Magazine 08

7172019 Shakespeare Magazine 08

httpslidepdfcomreaderfullshakespeare-magazine-08 4656

Having conquered

Hollywood and vanquished

the global entertainment

industry video games now

on our culture So where

does the Bard stand in all of

this We sent a Shakespeare

scholar to investigatehellip

Words Andrew Bretz

Shakespeare video games

46 SHAKESPEARE magazine

T eGamersquos A oot Silent Hill is one

big-name gamewhich includesShakespearereferences

7172019 Shakespeare Magazine 08

httpslidepdfcomreaderfullshakespeare-magazine-08 4756

Shakespeare video games

SHAKESPEARE magazine 47

German cardboard Macbeth datingfrom the early1800s

Hamlet reimaginedRyan Northrsquos To Be

Or Not To Be

W

hen you walk intothe wood panelled Victorian Gothicismof the Gail Kern Paster

Reading Room at theFolger Shakespeare Library in WashingtonDC video games are probably the lastthing on your mind Buried deep withinthe archives however are a set of fragilecardboard figures printed in Germany in theearly 1800s representing each of the maincharacters of Macbeth

Nineteenth century German children would play with these figures on smallcardboard stages no bigger than a dollhouseey could replicate the story as it was toldin Shakespeare or use their imagination tochange the ending letting Lady Macbethsurvive and bringing Duncan back from thedead if they so chosee limits of the game were the limits of their imagination

Today the lsquogamificationrsquo of Shakespeareis a big business from Ryan Northrsquos choose-your-own-adventure edition of Hamlet To Be Or Not To Be to IDW Gamesrsquosupcoming Kill Shakespeare board gamebased on the comic of the same name

Gamifying Shakespeare is filtering intoschools libraries and the theatrical worldas well with the University of California atDavis the Stratford Festival in Ontario theGlobeeatre in London and the LondonMetropolitan Archives all experimenting with video game elements in exhibits productionsand research

Why video games In a sense this is thelogical next step in the media development ofShakespeare Hersquos everywhere in other media

books movies merchandise But videogamese answer for that depends on whoyou ask

StorytellingOccasionally individuals or publishinghouses develop video games that try to tellthe story of say Hamlet yet this is relativelyrare One example would be Elsinore a time-looping narrative adventure game set in the world of the play Players play the game as

Ophelia who wakes up knowing that in fourdays the entire court will be dead and shemust do something to stop ite problemis that she is stuck in a time loop reliving thesame four days over and over againat said Shakespearersquos presence in the

video game industry tends to be focused oncitation rather than adaptation of the playsat is video games for Xbox Playstationand other popular gaming systems often

just cite Shakespearersquos plays as a part of acommon cultural heritageese games donrsquotrestage say Hamlet but they quote the playIn these cases Shakespeare is used to establisha point of identification for the audience His writing tells the audience something aboutthe character or the situation

Given that audiences are supposedto be able to identify the quotations asShakespearean it is unsurprising that Hamlet is the most popular text for game designers to

cite Ine Elder Scrolls Online for instancea merchant NPC (non-player character)quotes Polonius when players interact sayingldquoNeither a borrower nor a lender berdquoe words establish the NPCrsquos role as a merchant while fitting the medieval world of thegame In the game LA Noire upon pickingup a fake shrunken head at a crime scene adetective leaps into high melodrama withldquoAlas poor Yorick I knew him Horatiordquoequotation and the clever voice acting establish

7172019 Shakespeare Magazine 08

httpslidepdfcomreaderfullshakespeare-magazine-08 4856

Shakespeare video games

48 SHAKESPEARE magazine

the characterrsquos strait-laced yet macabre senseof humour

Sometimes citing Shakespeare is a partof a critique of a larger theme In the game Mass E ff ect the Elcor are a race of elephantinealiens who preface all statements with adescription of the emotion they are feelingand who speak in a slow monotonous drone As players interact with the expansive worldthey can discover a number of advertisementsfor an all-Elcor Hamlet e idea of theElcor actor ndash the ultimate in a flat woodenperformer ndash having to preface ldquoTo be or not

to berdquo with ldquomorose ruminationrdquo goes beyondthe simple humour of a bad Shakespeareperformance It subtly asks what it is aboutacting (and especially voice acting) that isvaluable

Shakespeare can appear in video gamesnot merely as a marker or contextualisationtool but as a part of a puzzle For example inthe game Silent Hill 3 players must arrange aset of Shakespeare anthologies on a bookshelfin an abandoned shopping mall in order to

proceed in the game At the hardest levelthe puzzle clue takes the form of a poemthat references all the major tragedies Romeoand Juliet King Lear Macbeth Othello andof course Hamlet e bloody nature of thetragedies fits with the bloody nature of theSilent Hill series of games which fall into thesurvival horror genre

Popular video games have also servedas the inspiration for games that engage with Shakespeare in a more direct way For

example Daniel Fischlin at the Universityof Guelph in Ontario Canada led a teamthat created a Flash game called rsquoSpeare Itrsquos

a scrolling arcade-style game suggesting thersquo80s hit Galaga which sees players identifyingand navigating through a series of enemies who turn into words upon being destroyede player progresses through the levelsby collecting the correct words to createShakespearean quotes learning Shakespeareantrivia along the way

ImmersionOne of the most exciting aspects of videogames is the ability to immerse the player inthe world of the game in a way that othermedia simply cannot do Being able to walkaround Prosperorsquos cell Julietrsquos balcony orto stand before the ghost of Hamletrsquos fatheras he cries out ldquoList list O listrdquo ndash theseexperiences are made possible through videogame technology

Students of Scenic Arts at the Universityof Hildesheim in Germany created Projekt ARIEL or SturmMOD in 2008 using a lsquomodrsquo(or modification) to the engine that runs

the game Far Cry 1 e performance artproject allowed users to experience Prosperorsquosisland interacting with certain parts andexploring others Players could walk aroundan imaginative rendition of Prosperorsquos cell and witness or interact with elements of the playincluding diff erent characters like CalibanProspero and Miranda

Four days to savethe Danish court

Elsinore

Another Hamlet reference this timein LA Noire

7172019 Shakespeare Magazine 08

httpslidepdfcomreaderfullshakespeare-magazine-08 4956

Shakespeare video games

SHAKESPEARE magazine 49

Gina Bloom at the University of Californiaat Davis is presently spearheading a projectthat will be demonstrated in the lobby of theStratford Festival theatre in Ontario Canadathis summere project Play the Knave AShakespeare Performance Videogame lets usersdesign a virtual performance space and thenperform a scene from a Shakespeare playinhabiting this constructed space with anavatar As a Davis insider explains ldquoWe use akinect motion capture camera to capture theuserrsquos skeletal data so that players use theirentire bodies to control their avatarrsquos gesturesonscreen all the while reciting the lines from

Shakespearersquos scenerdquo is literally immersesthe players in the scene

Shakespearersquos Globe eatre in Londontook another tactic regarding immersionin the production of the game HemmingsrsquoPlay Company Hosted on the Playgroundportion of the Globersquos website and thusaimed at an audience of children the gamehas players taking on the role of Hemmingsan Elizabethan bear who leads a troupe oftheatrical animals such as Kit the Cat Dekker

the Dog and Slye the Foxe turn-based game leads players through

the vagaries of Elizabethan theatre practicefrom patronage to lost props and the plagueBy the end of the game players must earnenough money to rebuild the Globe after itburns down during a performance of HenryVIII

Also from Shakespearersquos Globe are twoinnovative video experiences created forchildren aged five to 11 e first Exploring

Shakespeare features two boys on a tour ofthe Globe theatre who sneak off to explorebackstage e video illustrates four plays

using short animations that are keyedto things the boys find backstage etechnology combines live action film andanimation to create an interactive touchablegame Filled with mini-games quizzes andinteresting facts about Shakespeare the gameallows players to click through the narrativeor to stop and learn more as they go along

e second video called Staging It usesthe same technology as the first film but thistime is for the 11-16 age group In this gamee Globe has filmed two actors performingfamous duologues from A MidsummerNightrsquos Dream and Macbeth on the Globestage Rather than shoot it once the actorshave performed their lines in diff erent ways(happy flirtatious defensive and so on)creating several diff erent clips per linePlayers can watch each of the clips and addtheir choice to a dynamic storyboard tobuild up their final scene Impressively theplatform allows for up to 1000000 diff erentcombinations of clips

Apps and Mini-GamesItrsquos when you start to look outside of therealm of popular video game platformslike Xbox or Playstation that Shakespeare

Silent Hill 3 Brush upyour Shakespeare ifyou want to survive

Hemmingsrsquo PlayCompany fromShakespearersquosGlobe

7172019 Shakespeare Magazine 08

httpslidepdfcomreaderfullshakespeare-magazine-08 5056

Shakespeare video games

50 SHAKESPEARE magazine

really starts to pop up wherever you looke ubiquity of Shakespeare is especiallynoticeable when you start to look at apps andmini-games designed for phones and tablets

In 2012 Big Fish Games released aniPhone and iPad game called Hamlet that featured all the main characters ofShakespearersquos play but transposed them intoa save-the-princess narrative puzzle game A time traveller lands in Denmark andaccidentally kills Hamlet and so players mustcomplete his journey for him saving Opheliaand killing Claudiuse Shakespeareancontent is minimal and heavily adapted andyet it fits with the puzzle format in whichShakespeare tends to be found in videogamese Chronicles of Shakespeare Romeo amp

Juliet ande Chronicles of Shakespeare A Midsummer Nightrsquos Dream are lusciously-illustrated puzzle games for the PC In themplayers act as one of the characters from theplays gathering items and clues through aShakespearean environment

Among the literally thousands of appsrelated to Shakespeare that can be found forthe iPad or Android tablet are

e Shakespearean Insult Creator which generates invectives drawn from a wholly Shakespearean vocabulary So nexttime you want to call someone a jerk trysomething more like ldquoou fusty follyfallenfustilarianrdquo

e Shakespeare Translator whichtranslates ldquonormal English words and phrasesinto the words of Shakespeare himselfrdquo

e Shakespeare Fortune Cookie which provides short quotes from the plays

and a small trivia game Shakespeare or Die a game that

scrambles the words of famous quotationsfrom the plays and asks you to identify theplay and character who spoke the line If youmake a mistake however beware the witchesese apps are either explicitly games or

they are coming out of a game-like impulse tomake Shakespeare more accessible to everyone with an internet connection

Brave New WorldsIn a world where Shakespeare is an industrycounted in the millions of dollars per yearit is so easy to forget that Shakespearersquos playsare just that ndash playsere is a sense of joyand fun and happiness embedded in theexperience of watching them Games are oneof the ways that people over the centuries

have tried to recapture that elusive sense ofplayfulness within Shakespeare So it makesperfect sense that now with the advent ofdigital technologies Shakespeare is movinginto the digital world with a vengeance

From big studio games likee ElderScrolls to small apps that can be downloadedfor free from talking bears to immersiveperformance experiences Shakespeare iseverywhere in video games Rather than beingan undiscovered country into which the Bard

is only just beginning to emerge games havein fact engaged with Shakespeare and his works for hundreds of years And they willprobably continue to do so for hundreds ofyears to come

rsquoSpeare is a scrollingarcade-stylegame with addedShakespeare trivia

Hamlet is aShakespeare-themed puzzle fromBig Fish Games

7172019 Shakespeare Magazine 08

httpslidepdfcomreaderfullshakespeare-magazine-08 5156

7172019 Shakespeare Magazine 08

httpslidepdfcomreaderfullshakespeare-magazine-08 5256

Meet thy makers

Helen Mears fell into bardolatryduring her teenage years and has

never recovered She is a volunteersteward at Shakespearersquos Globe

which ensures a regular diet of theBard She teaches English Film andMedia at Suffolk New College and isa specialist in teaching Shakespeareusing active methods Her favouriteShakespearean actor is Jamie Parker

and her favourite plays are the SecondHistory Tetralogy She hopes to

finish her Masters in the AdvancedTeaching of Shakespeare very soonFind her on Twitter hipster_hels

Paul F Cockburn is an Edinburgh-based freelance magazine journalist who specialises in writing about

arts and culture equality issues andpopular science Hersquos sufficiently

grey-haired for his English Literaturetraining to have sort of overlapped

with The BBC Television Shakespeareproject saving at least some of the

plays from death by academiaFind him on Twitter paulfcockburn

Jen Richardson first fell in love withShakespeare as a 15-year-old schoolgirl

ldquoHe got under my skin and hersquos still theretodayrdquo After training with a Manchester-based drama tutor she went on to pursuean acting career Drama remains a greatinterest but her focus is now on sharing

her passion for Shakespeare throughher writing In her spare time Jen is

generally down in Stratford-upon-Avonsitting on her favourite bench behind

Holy Trinity ChurchFind her on Twitter The_JenJen

Andrew Bretz is a sessional instructorof English Literature and Drama

specialising in early modern dramaHe has taught at Wilfrid LaurierUniversity the University of Guelph

Brock University and McMasterUniversity For the past two years he

has taught a special summer intensiveat Ontariorsquos Stratford Festival His PhDdissertation was on the representationof sexual violence on the early modern

stage Find him on TwitterAndrewBretz001

Just some of the contributors to this issue of Shakespeare Magazine

Rosalind Lyons is a painter whohas exhibited widely in both mixedand solo shows with work in UK

and international private collections A life-long love of Shakespeare isreflected in many of her paintings

and a particular recent focus isShakespearersquos Globe theatre where shespent a period as artist-in-residenceShe is currently studying for a PhD

in Painting and ShakespeareanTheatre at Anglia Ruskin University

in CambridgeFind her on Twitter roslyons

52 SHAKESPEARE magazine

Contributors

7172019 Shakespeare Magazine 08

httpslidepdfcomreaderfullshakespeare-magazine-08 5356

7172019 Shakespeare Magazine 08

httpslidepdfcomreaderfullshakespeare-magazine-08 5456

7172019 Shakespeare Magazine 08

httpslidepdfcomreaderfullshakespeare-magazine-08 5556

7172019 Shakespeare Magazine 08

httpslidepdfcomreaderfullshakespeare-magazine-08 5656

Page 47: Shakespeare Magazine 08

7172019 Shakespeare Magazine 08

httpslidepdfcomreaderfullshakespeare-magazine-08 4756

Shakespeare video games

SHAKESPEARE magazine 47

German cardboard Macbeth datingfrom the early1800s

Hamlet reimaginedRyan Northrsquos To Be

Or Not To Be

W

hen you walk intothe wood panelled Victorian Gothicismof the Gail Kern Paster

Reading Room at theFolger Shakespeare Library in WashingtonDC video games are probably the lastthing on your mind Buried deep withinthe archives however are a set of fragilecardboard figures printed in Germany in theearly 1800s representing each of the maincharacters of Macbeth

Nineteenth century German children would play with these figures on smallcardboard stages no bigger than a dollhouseey could replicate the story as it was toldin Shakespeare or use their imagination tochange the ending letting Lady Macbethsurvive and bringing Duncan back from thedead if they so chosee limits of the game were the limits of their imagination

Today the lsquogamificationrsquo of Shakespeareis a big business from Ryan Northrsquos choose-your-own-adventure edition of Hamlet To Be Or Not To Be to IDW Gamesrsquosupcoming Kill Shakespeare board gamebased on the comic of the same name

Gamifying Shakespeare is filtering intoschools libraries and the theatrical worldas well with the University of California atDavis the Stratford Festival in Ontario theGlobeeatre in London and the LondonMetropolitan Archives all experimenting with video game elements in exhibits productionsand research

Why video games In a sense this is thelogical next step in the media development ofShakespeare Hersquos everywhere in other media

books movies merchandise But videogamese answer for that depends on whoyou ask

StorytellingOccasionally individuals or publishinghouses develop video games that try to tellthe story of say Hamlet yet this is relativelyrare One example would be Elsinore a time-looping narrative adventure game set in the world of the play Players play the game as

Ophelia who wakes up knowing that in fourdays the entire court will be dead and shemust do something to stop ite problemis that she is stuck in a time loop reliving thesame four days over and over againat said Shakespearersquos presence in the

video game industry tends to be focused oncitation rather than adaptation of the playsat is video games for Xbox Playstationand other popular gaming systems often

just cite Shakespearersquos plays as a part of acommon cultural heritageese games donrsquotrestage say Hamlet but they quote the playIn these cases Shakespeare is used to establisha point of identification for the audience His writing tells the audience something aboutthe character or the situation

Given that audiences are supposedto be able to identify the quotations asShakespearean it is unsurprising that Hamlet is the most popular text for game designers to

cite Ine Elder Scrolls Online for instancea merchant NPC (non-player character)quotes Polonius when players interact sayingldquoNeither a borrower nor a lender berdquoe words establish the NPCrsquos role as a merchant while fitting the medieval world of thegame In the game LA Noire upon pickingup a fake shrunken head at a crime scene adetective leaps into high melodrama withldquoAlas poor Yorick I knew him Horatiordquoequotation and the clever voice acting establish

7172019 Shakespeare Magazine 08

httpslidepdfcomreaderfullshakespeare-magazine-08 4856

Shakespeare video games

48 SHAKESPEARE magazine

the characterrsquos strait-laced yet macabre senseof humour

Sometimes citing Shakespeare is a partof a critique of a larger theme In the game Mass E ff ect the Elcor are a race of elephantinealiens who preface all statements with adescription of the emotion they are feelingand who speak in a slow monotonous drone As players interact with the expansive worldthey can discover a number of advertisementsfor an all-Elcor Hamlet e idea of theElcor actor ndash the ultimate in a flat woodenperformer ndash having to preface ldquoTo be or not

to berdquo with ldquomorose ruminationrdquo goes beyondthe simple humour of a bad Shakespeareperformance It subtly asks what it is aboutacting (and especially voice acting) that isvaluable

Shakespeare can appear in video gamesnot merely as a marker or contextualisationtool but as a part of a puzzle For example inthe game Silent Hill 3 players must arrange aset of Shakespeare anthologies on a bookshelfin an abandoned shopping mall in order to

proceed in the game At the hardest levelthe puzzle clue takes the form of a poemthat references all the major tragedies Romeoand Juliet King Lear Macbeth Othello andof course Hamlet e bloody nature of thetragedies fits with the bloody nature of theSilent Hill series of games which fall into thesurvival horror genre

Popular video games have also servedas the inspiration for games that engage with Shakespeare in a more direct way For

example Daniel Fischlin at the Universityof Guelph in Ontario Canada led a teamthat created a Flash game called rsquoSpeare Itrsquos

a scrolling arcade-style game suggesting thersquo80s hit Galaga which sees players identifyingand navigating through a series of enemies who turn into words upon being destroyede player progresses through the levelsby collecting the correct words to createShakespearean quotes learning Shakespeareantrivia along the way

ImmersionOne of the most exciting aspects of videogames is the ability to immerse the player inthe world of the game in a way that othermedia simply cannot do Being able to walkaround Prosperorsquos cell Julietrsquos balcony orto stand before the ghost of Hamletrsquos fatheras he cries out ldquoList list O listrdquo ndash theseexperiences are made possible through videogame technology

Students of Scenic Arts at the Universityof Hildesheim in Germany created Projekt ARIEL or SturmMOD in 2008 using a lsquomodrsquo(or modification) to the engine that runs

the game Far Cry 1 e performance artproject allowed users to experience Prosperorsquosisland interacting with certain parts andexploring others Players could walk aroundan imaginative rendition of Prosperorsquos cell and witness or interact with elements of the playincluding diff erent characters like CalibanProspero and Miranda

Four days to savethe Danish court

Elsinore

Another Hamlet reference this timein LA Noire

7172019 Shakespeare Magazine 08

httpslidepdfcomreaderfullshakespeare-magazine-08 4956

Shakespeare video games

SHAKESPEARE magazine 49

Gina Bloom at the University of Californiaat Davis is presently spearheading a projectthat will be demonstrated in the lobby of theStratford Festival theatre in Ontario Canadathis summere project Play the Knave AShakespeare Performance Videogame lets usersdesign a virtual performance space and thenperform a scene from a Shakespeare playinhabiting this constructed space with anavatar As a Davis insider explains ldquoWe use akinect motion capture camera to capture theuserrsquos skeletal data so that players use theirentire bodies to control their avatarrsquos gesturesonscreen all the while reciting the lines from

Shakespearersquos scenerdquo is literally immersesthe players in the scene

Shakespearersquos Globe eatre in Londontook another tactic regarding immersionin the production of the game HemmingsrsquoPlay Company Hosted on the Playgroundportion of the Globersquos website and thusaimed at an audience of children the gamehas players taking on the role of Hemmingsan Elizabethan bear who leads a troupe oftheatrical animals such as Kit the Cat Dekker

the Dog and Slye the Foxe turn-based game leads players through

the vagaries of Elizabethan theatre practicefrom patronage to lost props and the plagueBy the end of the game players must earnenough money to rebuild the Globe after itburns down during a performance of HenryVIII

Also from Shakespearersquos Globe are twoinnovative video experiences created forchildren aged five to 11 e first Exploring

Shakespeare features two boys on a tour ofthe Globe theatre who sneak off to explorebackstage e video illustrates four plays

using short animations that are keyedto things the boys find backstage etechnology combines live action film andanimation to create an interactive touchablegame Filled with mini-games quizzes andinteresting facts about Shakespeare the gameallows players to click through the narrativeor to stop and learn more as they go along

e second video called Staging It usesthe same technology as the first film but thistime is for the 11-16 age group In this gamee Globe has filmed two actors performingfamous duologues from A MidsummerNightrsquos Dream and Macbeth on the Globestage Rather than shoot it once the actorshave performed their lines in diff erent ways(happy flirtatious defensive and so on)creating several diff erent clips per linePlayers can watch each of the clips and addtheir choice to a dynamic storyboard tobuild up their final scene Impressively theplatform allows for up to 1000000 diff erentcombinations of clips

Apps and Mini-GamesItrsquos when you start to look outside of therealm of popular video game platformslike Xbox or Playstation that Shakespeare

Silent Hill 3 Brush upyour Shakespeare ifyou want to survive

Hemmingsrsquo PlayCompany fromShakespearersquosGlobe

7172019 Shakespeare Magazine 08

httpslidepdfcomreaderfullshakespeare-magazine-08 5056

Shakespeare video games

50 SHAKESPEARE magazine

really starts to pop up wherever you looke ubiquity of Shakespeare is especiallynoticeable when you start to look at apps andmini-games designed for phones and tablets

In 2012 Big Fish Games released aniPhone and iPad game called Hamlet that featured all the main characters ofShakespearersquos play but transposed them intoa save-the-princess narrative puzzle game A time traveller lands in Denmark andaccidentally kills Hamlet and so players mustcomplete his journey for him saving Opheliaand killing Claudiuse Shakespeareancontent is minimal and heavily adapted andyet it fits with the puzzle format in whichShakespeare tends to be found in videogamese Chronicles of Shakespeare Romeo amp

Juliet ande Chronicles of Shakespeare A Midsummer Nightrsquos Dream are lusciously-illustrated puzzle games for the PC In themplayers act as one of the characters from theplays gathering items and clues through aShakespearean environment

Among the literally thousands of appsrelated to Shakespeare that can be found forthe iPad or Android tablet are

e Shakespearean Insult Creator which generates invectives drawn from a wholly Shakespearean vocabulary So nexttime you want to call someone a jerk trysomething more like ldquoou fusty follyfallenfustilarianrdquo

e Shakespeare Translator whichtranslates ldquonormal English words and phrasesinto the words of Shakespeare himselfrdquo

e Shakespeare Fortune Cookie which provides short quotes from the plays

and a small trivia game Shakespeare or Die a game that

scrambles the words of famous quotationsfrom the plays and asks you to identify theplay and character who spoke the line If youmake a mistake however beware the witchesese apps are either explicitly games or

they are coming out of a game-like impulse tomake Shakespeare more accessible to everyone with an internet connection

Brave New WorldsIn a world where Shakespeare is an industrycounted in the millions of dollars per yearit is so easy to forget that Shakespearersquos playsare just that ndash playsere is a sense of joyand fun and happiness embedded in theexperience of watching them Games are oneof the ways that people over the centuries

have tried to recapture that elusive sense ofplayfulness within Shakespeare So it makesperfect sense that now with the advent ofdigital technologies Shakespeare is movinginto the digital world with a vengeance

From big studio games likee ElderScrolls to small apps that can be downloadedfor free from talking bears to immersiveperformance experiences Shakespeare iseverywhere in video games Rather than beingan undiscovered country into which the Bard

is only just beginning to emerge games havein fact engaged with Shakespeare and his works for hundreds of years And they willprobably continue to do so for hundreds ofyears to come

rsquoSpeare is a scrollingarcade-stylegame with addedShakespeare trivia

Hamlet is aShakespeare-themed puzzle fromBig Fish Games

7172019 Shakespeare Magazine 08

httpslidepdfcomreaderfullshakespeare-magazine-08 5156

7172019 Shakespeare Magazine 08

httpslidepdfcomreaderfullshakespeare-magazine-08 5256

Meet thy makers

Helen Mears fell into bardolatryduring her teenage years and has

never recovered She is a volunteersteward at Shakespearersquos Globe

which ensures a regular diet of theBard She teaches English Film andMedia at Suffolk New College and isa specialist in teaching Shakespeareusing active methods Her favouriteShakespearean actor is Jamie Parker

and her favourite plays are the SecondHistory Tetralogy She hopes to

finish her Masters in the AdvancedTeaching of Shakespeare very soonFind her on Twitter hipster_hels

Paul F Cockburn is an Edinburgh-based freelance magazine journalist who specialises in writing about

arts and culture equality issues andpopular science Hersquos sufficiently

grey-haired for his English Literaturetraining to have sort of overlapped

with The BBC Television Shakespeareproject saving at least some of the

plays from death by academiaFind him on Twitter paulfcockburn

Jen Richardson first fell in love withShakespeare as a 15-year-old schoolgirl

ldquoHe got under my skin and hersquos still theretodayrdquo After training with a Manchester-based drama tutor she went on to pursuean acting career Drama remains a greatinterest but her focus is now on sharing

her passion for Shakespeare throughher writing In her spare time Jen is

generally down in Stratford-upon-Avonsitting on her favourite bench behind

Holy Trinity ChurchFind her on Twitter The_JenJen

Andrew Bretz is a sessional instructorof English Literature and Drama

specialising in early modern dramaHe has taught at Wilfrid LaurierUniversity the University of Guelph

Brock University and McMasterUniversity For the past two years he

has taught a special summer intensiveat Ontariorsquos Stratford Festival His PhDdissertation was on the representationof sexual violence on the early modern

stage Find him on TwitterAndrewBretz001

Just some of the contributors to this issue of Shakespeare Magazine

Rosalind Lyons is a painter whohas exhibited widely in both mixedand solo shows with work in UK

and international private collections A life-long love of Shakespeare isreflected in many of her paintings

and a particular recent focus isShakespearersquos Globe theatre where shespent a period as artist-in-residenceShe is currently studying for a PhD

in Painting and ShakespeareanTheatre at Anglia Ruskin University

in CambridgeFind her on Twitter roslyons

52 SHAKESPEARE magazine

Contributors

7172019 Shakespeare Magazine 08

httpslidepdfcomreaderfullshakespeare-magazine-08 5356

7172019 Shakespeare Magazine 08

httpslidepdfcomreaderfullshakespeare-magazine-08 5456

7172019 Shakespeare Magazine 08

httpslidepdfcomreaderfullshakespeare-magazine-08 5556

7172019 Shakespeare Magazine 08

httpslidepdfcomreaderfullshakespeare-magazine-08 5656

Page 48: Shakespeare Magazine 08

7172019 Shakespeare Magazine 08

httpslidepdfcomreaderfullshakespeare-magazine-08 4856

Shakespeare video games

48 SHAKESPEARE magazine

the characterrsquos strait-laced yet macabre senseof humour

Sometimes citing Shakespeare is a partof a critique of a larger theme In the game Mass E ff ect the Elcor are a race of elephantinealiens who preface all statements with adescription of the emotion they are feelingand who speak in a slow monotonous drone As players interact with the expansive worldthey can discover a number of advertisementsfor an all-Elcor Hamlet e idea of theElcor actor ndash the ultimate in a flat woodenperformer ndash having to preface ldquoTo be or not

to berdquo with ldquomorose ruminationrdquo goes beyondthe simple humour of a bad Shakespeareperformance It subtly asks what it is aboutacting (and especially voice acting) that isvaluable

Shakespeare can appear in video gamesnot merely as a marker or contextualisationtool but as a part of a puzzle For example inthe game Silent Hill 3 players must arrange aset of Shakespeare anthologies on a bookshelfin an abandoned shopping mall in order to

proceed in the game At the hardest levelthe puzzle clue takes the form of a poemthat references all the major tragedies Romeoand Juliet King Lear Macbeth Othello andof course Hamlet e bloody nature of thetragedies fits with the bloody nature of theSilent Hill series of games which fall into thesurvival horror genre

Popular video games have also servedas the inspiration for games that engage with Shakespeare in a more direct way For

example Daniel Fischlin at the Universityof Guelph in Ontario Canada led a teamthat created a Flash game called rsquoSpeare Itrsquos

a scrolling arcade-style game suggesting thersquo80s hit Galaga which sees players identifyingand navigating through a series of enemies who turn into words upon being destroyede player progresses through the levelsby collecting the correct words to createShakespearean quotes learning Shakespeareantrivia along the way

ImmersionOne of the most exciting aspects of videogames is the ability to immerse the player inthe world of the game in a way that othermedia simply cannot do Being able to walkaround Prosperorsquos cell Julietrsquos balcony orto stand before the ghost of Hamletrsquos fatheras he cries out ldquoList list O listrdquo ndash theseexperiences are made possible through videogame technology

Students of Scenic Arts at the Universityof Hildesheim in Germany created Projekt ARIEL or SturmMOD in 2008 using a lsquomodrsquo(or modification) to the engine that runs

the game Far Cry 1 e performance artproject allowed users to experience Prosperorsquosisland interacting with certain parts andexploring others Players could walk aroundan imaginative rendition of Prosperorsquos cell and witness or interact with elements of the playincluding diff erent characters like CalibanProspero and Miranda

Four days to savethe Danish court

Elsinore

Another Hamlet reference this timein LA Noire

7172019 Shakespeare Magazine 08

httpslidepdfcomreaderfullshakespeare-magazine-08 4956

Shakespeare video games

SHAKESPEARE magazine 49

Gina Bloom at the University of Californiaat Davis is presently spearheading a projectthat will be demonstrated in the lobby of theStratford Festival theatre in Ontario Canadathis summere project Play the Knave AShakespeare Performance Videogame lets usersdesign a virtual performance space and thenperform a scene from a Shakespeare playinhabiting this constructed space with anavatar As a Davis insider explains ldquoWe use akinect motion capture camera to capture theuserrsquos skeletal data so that players use theirentire bodies to control their avatarrsquos gesturesonscreen all the while reciting the lines from

Shakespearersquos scenerdquo is literally immersesthe players in the scene

Shakespearersquos Globe eatre in Londontook another tactic regarding immersionin the production of the game HemmingsrsquoPlay Company Hosted on the Playgroundportion of the Globersquos website and thusaimed at an audience of children the gamehas players taking on the role of Hemmingsan Elizabethan bear who leads a troupe oftheatrical animals such as Kit the Cat Dekker

the Dog and Slye the Foxe turn-based game leads players through

the vagaries of Elizabethan theatre practicefrom patronage to lost props and the plagueBy the end of the game players must earnenough money to rebuild the Globe after itburns down during a performance of HenryVIII

Also from Shakespearersquos Globe are twoinnovative video experiences created forchildren aged five to 11 e first Exploring

Shakespeare features two boys on a tour ofthe Globe theatre who sneak off to explorebackstage e video illustrates four plays

using short animations that are keyedto things the boys find backstage etechnology combines live action film andanimation to create an interactive touchablegame Filled with mini-games quizzes andinteresting facts about Shakespeare the gameallows players to click through the narrativeor to stop and learn more as they go along

e second video called Staging It usesthe same technology as the first film but thistime is for the 11-16 age group In this gamee Globe has filmed two actors performingfamous duologues from A MidsummerNightrsquos Dream and Macbeth on the Globestage Rather than shoot it once the actorshave performed their lines in diff erent ways(happy flirtatious defensive and so on)creating several diff erent clips per linePlayers can watch each of the clips and addtheir choice to a dynamic storyboard tobuild up their final scene Impressively theplatform allows for up to 1000000 diff erentcombinations of clips

Apps and Mini-GamesItrsquos when you start to look outside of therealm of popular video game platformslike Xbox or Playstation that Shakespeare

Silent Hill 3 Brush upyour Shakespeare ifyou want to survive

Hemmingsrsquo PlayCompany fromShakespearersquosGlobe

7172019 Shakespeare Magazine 08

httpslidepdfcomreaderfullshakespeare-magazine-08 5056

Shakespeare video games

50 SHAKESPEARE magazine

really starts to pop up wherever you looke ubiquity of Shakespeare is especiallynoticeable when you start to look at apps andmini-games designed for phones and tablets

In 2012 Big Fish Games released aniPhone and iPad game called Hamlet that featured all the main characters ofShakespearersquos play but transposed them intoa save-the-princess narrative puzzle game A time traveller lands in Denmark andaccidentally kills Hamlet and so players mustcomplete his journey for him saving Opheliaand killing Claudiuse Shakespeareancontent is minimal and heavily adapted andyet it fits with the puzzle format in whichShakespeare tends to be found in videogamese Chronicles of Shakespeare Romeo amp

Juliet ande Chronicles of Shakespeare A Midsummer Nightrsquos Dream are lusciously-illustrated puzzle games for the PC In themplayers act as one of the characters from theplays gathering items and clues through aShakespearean environment

Among the literally thousands of appsrelated to Shakespeare that can be found forthe iPad or Android tablet are

e Shakespearean Insult Creator which generates invectives drawn from a wholly Shakespearean vocabulary So nexttime you want to call someone a jerk trysomething more like ldquoou fusty follyfallenfustilarianrdquo

e Shakespeare Translator whichtranslates ldquonormal English words and phrasesinto the words of Shakespeare himselfrdquo

e Shakespeare Fortune Cookie which provides short quotes from the plays

and a small trivia game Shakespeare or Die a game that

scrambles the words of famous quotationsfrom the plays and asks you to identify theplay and character who spoke the line If youmake a mistake however beware the witchesese apps are either explicitly games or

they are coming out of a game-like impulse tomake Shakespeare more accessible to everyone with an internet connection

Brave New WorldsIn a world where Shakespeare is an industrycounted in the millions of dollars per yearit is so easy to forget that Shakespearersquos playsare just that ndash playsere is a sense of joyand fun and happiness embedded in theexperience of watching them Games are oneof the ways that people over the centuries

have tried to recapture that elusive sense ofplayfulness within Shakespeare So it makesperfect sense that now with the advent ofdigital technologies Shakespeare is movinginto the digital world with a vengeance

From big studio games likee ElderScrolls to small apps that can be downloadedfor free from talking bears to immersiveperformance experiences Shakespeare iseverywhere in video games Rather than beingan undiscovered country into which the Bard

is only just beginning to emerge games havein fact engaged with Shakespeare and his works for hundreds of years And they willprobably continue to do so for hundreds ofyears to come

rsquoSpeare is a scrollingarcade-stylegame with addedShakespeare trivia

Hamlet is aShakespeare-themed puzzle fromBig Fish Games

7172019 Shakespeare Magazine 08

httpslidepdfcomreaderfullshakespeare-magazine-08 5156

7172019 Shakespeare Magazine 08

httpslidepdfcomreaderfullshakespeare-magazine-08 5256

Meet thy makers

Helen Mears fell into bardolatryduring her teenage years and has

never recovered She is a volunteersteward at Shakespearersquos Globe

which ensures a regular diet of theBard She teaches English Film andMedia at Suffolk New College and isa specialist in teaching Shakespeareusing active methods Her favouriteShakespearean actor is Jamie Parker

and her favourite plays are the SecondHistory Tetralogy She hopes to

finish her Masters in the AdvancedTeaching of Shakespeare very soonFind her on Twitter hipster_hels

Paul F Cockburn is an Edinburgh-based freelance magazine journalist who specialises in writing about

arts and culture equality issues andpopular science Hersquos sufficiently

grey-haired for his English Literaturetraining to have sort of overlapped

with The BBC Television Shakespeareproject saving at least some of the

plays from death by academiaFind him on Twitter paulfcockburn

Jen Richardson first fell in love withShakespeare as a 15-year-old schoolgirl

ldquoHe got under my skin and hersquos still theretodayrdquo After training with a Manchester-based drama tutor she went on to pursuean acting career Drama remains a greatinterest but her focus is now on sharing

her passion for Shakespeare throughher writing In her spare time Jen is

generally down in Stratford-upon-Avonsitting on her favourite bench behind

Holy Trinity ChurchFind her on Twitter The_JenJen

Andrew Bretz is a sessional instructorof English Literature and Drama

specialising in early modern dramaHe has taught at Wilfrid LaurierUniversity the University of Guelph

Brock University and McMasterUniversity For the past two years he

has taught a special summer intensiveat Ontariorsquos Stratford Festival His PhDdissertation was on the representationof sexual violence on the early modern

stage Find him on TwitterAndrewBretz001

Just some of the contributors to this issue of Shakespeare Magazine

Rosalind Lyons is a painter whohas exhibited widely in both mixedand solo shows with work in UK

and international private collections A life-long love of Shakespeare isreflected in many of her paintings

and a particular recent focus isShakespearersquos Globe theatre where shespent a period as artist-in-residenceShe is currently studying for a PhD

in Painting and ShakespeareanTheatre at Anglia Ruskin University

in CambridgeFind her on Twitter roslyons

52 SHAKESPEARE magazine

Contributors

7172019 Shakespeare Magazine 08

httpslidepdfcomreaderfullshakespeare-magazine-08 5356

7172019 Shakespeare Magazine 08

httpslidepdfcomreaderfullshakespeare-magazine-08 5456

7172019 Shakespeare Magazine 08

httpslidepdfcomreaderfullshakespeare-magazine-08 5556

7172019 Shakespeare Magazine 08

httpslidepdfcomreaderfullshakespeare-magazine-08 5656

Page 49: Shakespeare Magazine 08

7172019 Shakespeare Magazine 08

httpslidepdfcomreaderfullshakespeare-magazine-08 4956

Shakespeare video games

SHAKESPEARE magazine 49

Gina Bloom at the University of Californiaat Davis is presently spearheading a projectthat will be demonstrated in the lobby of theStratford Festival theatre in Ontario Canadathis summere project Play the Knave AShakespeare Performance Videogame lets usersdesign a virtual performance space and thenperform a scene from a Shakespeare playinhabiting this constructed space with anavatar As a Davis insider explains ldquoWe use akinect motion capture camera to capture theuserrsquos skeletal data so that players use theirentire bodies to control their avatarrsquos gesturesonscreen all the while reciting the lines from

Shakespearersquos scenerdquo is literally immersesthe players in the scene

Shakespearersquos Globe eatre in Londontook another tactic regarding immersionin the production of the game HemmingsrsquoPlay Company Hosted on the Playgroundportion of the Globersquos website and thusaimed at an audience of children the gamehas players taking on the role of Hemmingsan Elizabethan bear who leads a troupe oftheatrical animals such as Kit the Cat Dekker

the Dog and Slye the Foxe turn-based game leads players through

the vagaries of Elizabethan theatre practicefrom patronage to lost props and the plagueBy the end of the game players must earnenough money to rebuild the Globe after itburns down during a performance of HenryVIII

Also from Shakespearersquos Globe are twoinnovative video experiences created forchildren aged five to 11 e first Exploring

Shakespeare features two boys on a tour ofthe Globe theatre who sneak off to explorebackstage e video illustrates four plays

using short animations that are keyedto things the boys find backstage etechnology combines live action film andanimation to create an interactive touchablegame Filled with mini-games quizzes andinteresting facts about Shakespeare the gameallows players to click through the narrativeor to stop and learn more as they go along

e second video called Staging It usesthe same technology as the first film but thistime is for the 11-16 age group In this gamee Globe has filmed two actors performingfamous duologues from A MidsummerNightrsquos Dream and Macbeth on the Globestage Rather than shoot it once the actorshave performed their lines in diff erent ways(happy flirtatious defensive and so on)creating several diff erent clips per linePlayers can watch each of the clips and addtheir choice to a dynamic storyboard tobuild up their final scene Impressively theplatform allows for up to 1000000 diff erentcombinations of clips

Apps and Mini-GamesItrsquos when you start to look outside of therealm of popular video game platformslike Xbox or Playstation that Shakespeare

Silent Hill 3 Brush upyour Shakespeare ifyou want to survive

Hemmingsrsquo PlayCompany fromShakespearersquosGlobe

7172019 Shakespeare Magazine 08

httpslidepdfcomreaderfullshakespeare-magazine-08 5056

Shakespeare video games

50 SHAKESPEARE magazine

really starts to pop up wherever you looke ubiquity of Shakespeare is especiallynoticeable when you start to look at apps andmini-games designed for phones and tablets

In 2012 Big Fish Games released aniPhone and iPad game called Hamlet that featured all the main characters ofShakespearersquos play but transposed them intoa save-the-princess narrative puzzle game A time traveller lands in Denmark andaccidentally kills Hamlet and so players mustcomplete his journey for him saving Opheliaand killing Claudiuse Shakespeareancontent is minimal and heavily adapted andyet it fits with the puzzle format in whichShakespeare tends to be found in videogamese Chronicles of Shakespeare Romeo amp

Juliet ande Chronicles of Shakespeare A Midsummer Nightrsquos Dream are lusciously-illustrated puzzle games for the PC In themplayers act as one of the characters from theplays gathering items and clues through aShakespearean environment

Among the literally thousands of appsrelated to Shakespeare that can be found forthe iPad or Android tablet are

e Shakespearean Insult Creator which generates invectives drawn from a wholly Shakespearean vocabulary So nexttime you want to call someone a jerk trysomething more like ldquoou fusty follyfallenfustilarianrdquo

e Shakespeare Translator whichtranslates ldquonormal English words and phrasesinto the words of Shakespeare himselfrdquo

e Shakespeare Fortune Cookie which provides short quotes from the plays

and a small trivia game Shakespeare or Die a game that

scrambles the words of famous quotationsfrom the plays and asks you to identify theplay and character who spoke the line If youmake a mistake however beware the witchesese apps are either explicitly games or

they are coming out of a game-like impulse tomake Shakespeare more accessible to everyone with an internet connection

Brave New WorldsIn a world where Shakespeare is an industrycounted in the millions of dollars per yearit is so easy to forget that Shakespearersquos playsare just that ndash playsere is a sense of joyand fun and happiness embedded in theexperience of watching them Games are oneof the ways that people over the centuries

have tried to recapture that elusive sense ofplayfulness within Shakespeare So it makesperfect sense that now with the advent ofdigital technologies Shakespeare is movinginto the digital world with a vengeance

From big studio games likee ElderScrolls to small apps that can be downloadedfor free from talking bears to immersiveperformance experiences Shakespeare iseverywhere in video games Rather than beingan undiscovered country into which the Bard

is only just beginning to emerge games havein fact engaged with Shakespeare and his works for hundreds of years And they willprobably continue to do so for hundreds ofyears to come

rsquoSpeare is a scrollingarcade-stylegame with addedShakespeare trivia

Hamlet is aShakespeare-themed puzzle fromBig Fish Games

7172019 Shakespeare Magazine 08

httpslidepdfcomreaderfullshakespeare-magazine-08 5156

7172019 Shakespeare Magazine 08

httpslidepdfcomreaderfullshakespeare-magazine-08 5256

Meet thy makers

Helen Mears fell into bardolatryduring her teenage years and has

never recovered She is a volunteersteward at Shakespearersquos Globe

which ensures a regular diet of theBard She teaches English Film andMedia at Suffolk New College and isa specialist in teaching Shakespeareusing active methods Her favouriteShakespearean actor is Jamie Parker

and her favourite plays are the SecondHistory Tetralogy She hopes to

finish her Masters in the AdvancedTeaching of Shakespeare very soonFind her on Twitter hipster_hels

Paul F Cockburn is an Edinburgh-based freelance magazine journalist who specialises in writing about

arts and culture equality issues andpopular science Hersquos sufficiently

grey-haired for his English Literaturetraining to have sort of overlapped

with The BBC Television Shakespeareproject saving at least some of the

plays from death by academiaFind him on Twitter paulfcockburn

Jen Richardson first fell in love withShakespeare as a 15-year-old schoolgirl

ldquoHe got under my skin and hersquos still theretodayrdquo After training with a Manchester-based drama tutor she went on to pursuean acting career Drama remains a greatinterest but her focus is now on sharing

her passion for Shakespeare throughher writing In her spare time Jen is

generally down in Stratford-upon-Avonsitting on her favourite bench behind

Holy Trinity ChurchFind her on Twitter The_JenJen

Andrew Bretz is a sessional instructorof English Literature and Drama

specialising in early modern dramaHe has taught at Wilfrid LaurierUniversity the University of Guelph

Brock University and McMasterUniversity For the past two years he

has taught a special summer intensiveat Ontariorsquos Stratford Festival His PhDdissertation was on the representationof sexual violence on the early modern

stage Find him on TwitterAndrewBretz001

Just some of the contributors to this issue of Shakespeare Magazine

Rosalind Lyons is a painter whohas exhibited widely in both mixedand solo shows with work in UK

and international private collections A life-long love of Shakespeare isreflected in many of her paintings

and a particular recent focus isShakespearersquos Globe theatre where shespent a period as artist-in-residenceShe is currently studying for a PhD

in Painting and ShakespeareanTheatre at Anglia Ruskin University

in CambridgeFind her on Twitter roslyons

52 SHAKESPEARE magazine

Contributors

7172019 Shakespeare Magazine 08

httpslidepdfcomreaderfullshakespeare-magazine-08 5356

7172019 Shakespeare Magazine 08

httpslidepdfcomreaderfullshakespeare-magazine-08 5456

7172019 Shakespeare Magazine 08

httpslidepdfcomreaderfullshakespeare-magazine-08 5556

7172019 Shakespeare Magazine 08

httpslidepdfcomreaderfullshakespeare-magazine-08 5656

Page 50: Shakespeare Magazine 08

7172019 Shakespeare Magazine 08

httpslidepdfcomreaderfullshakespeare-magazine-08 5056

Shakespeare video games

50 SHAKESPEARE magazine

really starts to pop up wherever you looke ubiquity of Shakespeare is especiallynoticeable when you start to look at apps andmini-games designed for phones and tablets

In 2012 Big Fish Games released aniPhone and iPad game called Hamlet that featured all the main characters ofShakespearersquos play but transposed them intoa save-the-princess narrative puzzle game A time traveller lands in Denmark andaccidentally kills Hamlet and so players mustcomplete his journey for him saving Opheliaand killing Claudiuse Shakespeareancontent is minimal and heavily adapted andyet it fits with the puzzle format in whichShakespeare tends to be found in videogamese Chronicles of Shakespeare Romeo amp

Juliet ande Chronicles of Shakespeare A Midsummer Nightrsquos Dream are lusciously-illustrated puzzle games for the PC In themplayers act as one of the characters from theplays gathering items and clues through aShakespearean environment

Among the literally thousands of appsrelated to Shakespeare that can be found forthe iPad or Android tablet are

e Shakespearean Insult Creator which generates invectives drawn from a wholly Shakespearean vocabulary So nexttime you want to call someone a jerk trysomething more like ldquoou fusty follyfallenfustilarianrdquo

e Shakespeare Translator whichtranslates ldquonormal English words and phrasesinto the words of Shakespeare himselfrdquo

e Shakespeare Fortune Cookie which provides short quotes from the plays

and a small trivia game Shakespeare or Die a game that

scrambles the words of famous quotationsfrom the plays and asks you to identify theplay and character who spoke the line If youmake a mistake however beware the witchesese apps are either explicitly games or

they are coming out of a game-like impulse tomake Shakespeare more accessible to everyone with an internet connection

Brave New WorldsIn a world where Shakespeare is an industrycounted in the millions of dollars per yearit is so easy to forget that Shakespearersquos playsare just that ndash playsere is a sense of joyand fun and happiness embedded in theexperience of watching them Games are oneof the ways that people over the centuries

have tried to recapture that elusive sense ofplayfulness within Shakespeare So it makesperfect sense that now with the advent ofdigital technologies Shakespeare is movinginto the digital world with a vengeance

From big studio games likee ElderScrolls to small apps that can be downloadedfor free from talking bears to immersiveperformance experiences Shakespeare iseverywhere in video games Rather than beingan undiscovered country into which the Bard

is only just beginning to emerge games havein fact engaged with Shakespeare and his works for hundreds of years And they willprobably continue to do so for hundreds ofyears to come

rsquoSpeare is a scrollingarcade-stylegame with addedShakespeare trivia

Hamlet is aShakespeare-themed puzzle fromBig Fish Games

7172019 Shakespeare Magazine 08

httpslidepdfcomreaderfullshakespeare-magazine-08 5156

7172019 Shakespeare Magazine 08

httpslidepdfcomreaderfullshakespeare-magazine-08 5256

Meet thy makers

Helen Mears fell into bardolatryduring her teenage years and has

never recovered She is a volunteersteward at Shakespearersquos Globe

which ensures a regular diet of theBard She teaches English Film andMedia at Suffolk New College and isa specialist in teaching Shakespeareusing active methods Her favouriteShakespearean actor is Jamie Parker

and her favourite plays are the SecondHistory Tetralogy She hopes to

finish her Masters in the AdvancedTeaching of Shakespeare very soonFind her on Twitter hipster_hels

Paul F Cockburn is an Edinburgh-based freelance magazine journalist who specialises in writing about

arts and culture equality issues andpopular science Hersquos sufficiently

grey-haired for his English Literaturetraining to have sort of overlapped

with The BBC Television Shakespeareproject saving at least some of the

plays from death by academiaFind him on Twitter paulfcockburn

Jen Richardson first fell in love withShakespeare as a 15-year-old schoolgirl

ldquoHe got under my skin and hersquos still theretodayrdquo After training with a Manchester-based drama tutor she went on to pursuean acting career Drama remains a greatinterest but her focus is now on sharing

her passion for Shakespeare throughher writing In her spare time Jen is

generally down in Stratford-upon-Avonsitting on her favourite bench behind

Holy Trinity ChurchFind her on Twitter The_JenJen

Andrew Bretz is a sessional instructorof English Literature and Drama

specialising in early modern dramaHe has taught at Wilfrid LaurierUniversity the University of Guelph

Brock University and McMasterUniversity For the past two years he

has taught a special summer intensiveat Ontariorsquos Stratford Festival His PhDdissertation was on the representationof sexual violence on the early modern

stage Find him on TwitterAndrewBretz001

Just some of the contributors to this issue of Shakespeare Magazine

Rosalind Lyons is a painter whohas exhibited widely in both mixedand solo shows with work in UK

and international private collections A life-long love of Shakespeare isreflected in many of her paintings

and a particular recent focus isShakespearersquos Globe theatre where shespent a period as artist-in-residenceShe is currently studying for a PhD

in Painting and ShakespeareanTheatre at Anglia Ruskin University

in CambridgeFind her on Twitter roslyons

52 SHAKESPEARE magazine

Contributors

7172019 Shakespeare Magazine 08

httpslidepdfcomreaderfullshakespeare-magazine-08 5356

7172019 Shakespeare Magazine 08

httpslidepdfcomreaderfullshakespeare-magazine-08 5456

7172019 Shakespeare Magazine 08

httpslidepdfcomreaderfullshakespeare-magazine-08 5556

7172019 Shakespeare Magazine 08

httpslidepdfcomreaderfullshakespeare-magazine-08 5656

Page 51: Shakespeare Magazine 08

7172019 Shakespeare Magazine 08

httpslidepdfcomreaderfullshakespeare-magazine-08 5156

7172019 Shakespeare Magazine 08

httpslidepdfcomreaderfullshakespeare-magazine-08 5256

Meet thy makers

Helen Mears fell into bardolatryduring her teenage years and has

never recovered She is a volunteersteward at Shakespearersquos Globe

which ensures a regular diet of theBard She teaches English Film andMedia at Suffolk New College and isa specialist in teaching Shakespeareusing active methods Her favouriteShakespearean actor is Jamie Parker

and her favourite plays are the SecondHistory Tetralogy She hopes to

finish her Masters in the AdvancedTeaching of Shakespeare very soonFind her on Twitter hipster_hels

Paul F Cockburn is an Edinburgh-based freelance magazine journalist who specialises in writing about

arts and culture equality issues andpopular science Hersquos sufficiently

grey-haired for his English Literaturetraining to have sort of overlapped

with The BBC Television Shakespeareproject saving at least some of the

plays from death by academiaFind him on Twitter paulfcockburn

Jen Richardson first fell in love withShakespeare as a 15-year-old schoolgirl

ldquoHe got under my skin and hersquos still theretodayrdquo After training with a Manchester-based drama tutor she went on to pursuean acting career Drama remains a greatinterest but her focus is now on sharing

her passion for Shakespeare throughher writing In her spare time Jen is

generally down in Stratford-upon-Avonsitting on her favourite bench behind

Holy Trinity ChurchFind her on Twitter The_JenJen

Andrew Bretz is a sessional instructorof English Literature and Drama

specialising in early modern dramaHe has taught at Wilfrid LaurierUniversity the University of Guelph

Brock University and McMasterUniversity For the past two years he

has taught a special summer intensiveat Ontariorsquos Stratford Festival His PhDdissertation was on the representationof sexual violence on the early modern

stage Find him on TwitterAndrewBretz001

Just some of the contributors to this issue of Shakespeare Magazine

Rosalind Lyons is a painter whohas exhibited widely in both mixedand solo shows with work in UK

and international private collections A life-long love of Shakespeare isreflected in many of her paintings

and a particular recent focus isShakespearersquos Globe theatre where shespent a period as artist-in-residenceShe is currently studying for a PhD

in Painting and ShakespeareanTheatre at Anglia Ruskin University

in CambridgeFind her on Twitter roslyons

52 SHAKESPEARE magazine

Contributors

7172019 Shakespeare Magazine 08

httpslidepdfcomreaderfullshakespeare-magazine-08 5356

7172019 Shakespeare Magazine 08

httpslidepdfcomreaderfullshakespeare-magazine-08 5456

7172019 Shakespeare Magazine 08

httpslidepdfcomreaderfullshakespeare-magazine-08 5556

7172019 Shakespeare Magazine 08

httpslidepdfcomreaderfullshakespeare-magazine-08 5656

Page 52: Shakespeare Magazine 08

7172019 Shakespeare Magazine 08

httpslidepdfcomreaderfullshakespeare-magazine-08 5256

Meet thy makers

Helen Mears fell into bardolatryduring her teenage years and has

never recovered She is a volunteersteward at Shakespearersquos Globe

which ensures a regular diet of theBard She teaches English Film andMedia at Suffolk New College and isa specialist in teaching Shakespeareusing active methods Her favouriteShakespearean actor is Jamie Parker

and her favourite plays are the SecondHistory Tetralogy She hopes to

finish her Masters in the AdvancedTeaching of Shakespeare very soonFind her on Twitter hipster_hels

Paul F Cockburn is an Edinburgh-based freelance magazine journalist who specialises in writing about

arts and culture equality issues andpopular science Hersquos sufficiently

grey-haired for his English Literaturetraining to have sort of overlapped

with The BBC Television Shakespeareproject saving at least some of the

plays from death by academiaFind him on Twitter paulfcockburn

Jen Richardson first fell in love withShakespeare as a 15-year-old schoolgirl

ldquoHe got under my skin and hersquos still theretodayrdquo After training with a Manchester-based drama tutor she went on to pursuean acting career Drama remains a greatinterest but her focus is now on sharing

her passion for Shakespeare throughher writing In her spare time Jen is

generally down in Stratford-upon-Avonsitting on her favourite bench behind

Holy Trinity ChurchFind her on Twitter The_JenJen

Andrew Bretz is a sessional instructorof English Literature and Drama

specialising in early modern dramaHe has taught at Wilfrid LaurierUniversity the University of Guelph

Brock University and McMasterUniversity For the past two years he

has taught a special summer intensiveat Ontariorsquos Stratford Festival His PhDdissertation was on the representationof sexual violence on the early modern

stage Find him on TwitterAndrewBretz001

Just some of the contributors to this issue of Shakespeare Magazine

Rosalind Lyons is a painter whohas exhibited widely in both mixedand solo shows with work in UK

and international private collections A life-long love of Shakespeare isreflected in many of her paintings

and a particular recent focus isShakespearersquos Globe theatre where shespent a period as artist-in-residenceShe is currently studying for a PhD

in Painting and ShakespeareanTheatre at Anglia Ruskin University

in CambridgeFind her on Twitter roslyons

52 SHAKESPEARE magazine

Contributors

7172019 Shakespeare Magazine 08

httpslidepdfcomreaderfullshakespeare-magazine-08 5356

7172019 Shakespeare Magazine 08

httpslidepdfcomreaderfullshakespeare-magazine-08 5456

7172019 Shakespeare Magazine 08

httpslidepdfcomreaderfullshakespeare-magazine-08 5556

7172019 Shakespeare Magazine 08

httpslidepdfcomreaderfullshakespeare-magazine-08 5656

Page 53: Shakespeare Magazine 08

7172019 Shakespeare Magazine 08

httpslidepdfcomreaderfullshakespeare-magazine-08 5356

7172019 Shakespeare Magazine 08

httpslidepdfcomreaderfullshakespeare-magazine-08 5456

7172019 Shakespeare Magazine 08

httpslidepdfcomreaderfullshakespeare-magazine-08 5556

7172019 Shakespeare Magazine 08

httpslidepdfcomreaderfullshakespeare-magazine-08 5656

Page 54: Shakespeare Magazine 08

7172019 Shakespeare Magazine 08

httpslidepdfcomreaderfullshakespeare-magazine-08 5456

7172019 Shakespeare Magazine 08

httpslidepdfcomreaderfullshakespeare-magazine-08 5556

7172019 Shakespeare Magazine 08

httpslidepdfcomreaderfullshakespeare-magazine-08 5656

Page 55: Shakespeare Magazine 08

7172019 Shakespeare Magazine 08

httpslidepdfcomreaderfullshakespeare-magazine-08 5556

7172019 Shakespeare Magazine 08

httpslidepdfcomreaderfullshakespeare-magazine-08 5656

Page 56: Shakespeare Magazine 08

7172019 Shakespeare Magazine 08

httpslidepdfcomreaderfullshakespeare-magazine-08 5656