Friday, December 05, 2014

Monday, October 06, 2014

36 Zach Appelman

Hamlet played by Zach Appelman.
Directed by Robert Richmond.

The Shakespeare Folger Library, in conjunction with Simon & Schuster have begun a new series of full text audio recordings of the plays based on their own texts and inevitably, probably, Hamlet is amongst the first off the battlements.  The packaging is pretty basic, a cardboard box with the cds in a similarly cardboard inlay with the cast and credits printed on the first of the three cds, which was difficult to refer to when I wanted to confirm that once of the voices I could hear was John "Q" De Lancie.  It wasn't but I didn't find that out until I had to swap discs.

All of the discs explain this was recorded at Omega Studios and Audio School in Rockville, Maryland.  The cast is from the States who keep their accents, which might seem like a redundant statement, but I have heard similarly US produced versions in which the cast effect "British" accents.  Sometimes, tonally, it is confusing.  The smallish cast often doubles up and I'm sure I heard the same actor playing different characters in the same scene, especially the battlements.  Many audio productions can offer a range of regional accents to provide an extra clarity this does not.

As expected, due to its educational purposes, this is a pretty neutral rendering, director Robert Richmond realising that the target audience of teachers and students do not really wanting to deal with an eclectic interpretation of the text.  The audio design and music are basic, with simple suggestive stop effects and, I think I heard, two different synthesised musical jingles depending on whether the text is shifting between scenes or acts.  The intent is presumably for the listener to read along with a text, probably Folger's own.

The neutrality extends to the performances which dedicate themselves for the most part to textual clarity.  At times the irony of the text is ignored (Horatio admitting to Hamlet he's seen his father's spirit), at others its somewhat pantomimed (Gertrude's course correction on the identities of Rosencrantz and Guildenstern).  But it's difficult to fault this kind of production when you're aware of the intent, that the creative decisions have led to a purposeful blandness that can only really be apparent to someone who's seen/heard this many productions (albeit not recently...).

Polonius is largely played as though he drifted in from one of the comedies, probably Much Ado, notably when Ophelia's describing her strange visit from Hamlet to him, her father very pleased that he's taking an interest.  As sometimes happens, the Ophelia actress, in this case Emily Trask, really comes into her own during the descent into madness.  She also poignantly plays Gravedigger II later, which if this was on stage would provide the spooky image of Ophelia posthumously digging her own grave.  Ian Merrill Peakes's Claudius sounds disconcertingly like Jacobi.

In about ten days, Zach Appelman begins a two month run as Hamlet in Hartford.  His prince is not especially mad.  It's more that we hear the more adolescent, uncertain man in the private moments, but play-acts a kind of aristocracy in public.  As the production winds onward, particularly through the closet scene, the latter becomes his default as he gains a clearer direction of purpose.  His breathing, which earlier is raspy, the words difficult to say, reduces, increasing the coherence of what he's communicating. But like the rest of the production he's never, ever difficult to understand right up to and including his final words.

Folger Shakespeare Library presents Hamlet By William Shakespeare is out now on cd. Review copy supplied.

Wednesday, September 10, 2014

Shakespeare at the BBC:
The Secret Life of Books: Shakespeare's First Folio.

As the BBC website describes, in The Secret Life of Books, "Six classic British books are considered with a fresh eye. Returning to the authors' original manuscripts and letters, expert writers and performers bring their personal insights to these great works."  Given the eclectic mix of books chosen, it wasn't exactly certain that Shakespeare's Folio would appear especially since it's been so well served on television previously not least during The Big Read whose campaigning series this 6x30mins superficially resembles.

There's a short potted history of Shakespeare's publishing history, the usually glee at the sheer apparent wrongness of "To Be Or Not To Be..." in the original quarto which Beale attempts to read out loud from the British Library copy, the words crumbling in his mouth.  Perhaps some day we'll have a series of programmes about literature's oddities which'll look at more closely.  The programme doesn't come to any real conclusions about its origin and even uses the words "bad quarto" almost in a pejorative sense as though it's a term we used in the past but we're much more enlightened now.

It's interesting to note the extent that scholarship has mode on that this kind of programme is now comfortable enough to stress Shakespeare as a collaborator in a way which I've not quite seen with such force in this kind of veneration.  That make's the oddity that the BL's manuscript copy of Sir Thomas More with its page and a half of potential Shakespeare handwriting isn't mentioned while Beale talks about how we don't have the ability to see the playwright's original papers quite strange.

Nevertheless this an enjoyable half hour and even more so thanks to Beale's own performance of speeches from Lear (which appeared in at the National during the production of the film), Timon of Athens and Hamlet which is represented by his heart-stopping rendition of "To Be Or Not To Be..." stood on the banks of the Thames, words spoken with a force of understanding which I've rarely seen, especially in extract.  You can really tell that this an actor whose lived with the play and Shakespeare's words his entire life.

The Secret Life of Books: Shakespeare's First Folio is on the iPlayer here and available to watch for the next month in the relevant territories.   

Clips from the programme can be sampled here.

Wednesday, July 02, 2014

One-Man Hamlet at the Henley Fringe Festival.

Across my two blogs I receive a lot of press releases and every now and then there's something relevant which is worth quoting in full. Here is something relevant worth quoting in full:

Judi Dench signs on as Patron for Revolve Theatre Company ahead of their debut performance of One-Man Hamlet at the Henley Fringe Festival

Judi Dench has shown her support to the new era of theatre as she signs on as a Patron for up and coming theatre production company, Revolve Theatre Company. This summer, The RTC will be debuting their first ever performance as a company with their rendition of Shakespeare’s Hamlet performed by a single lone actor at this years’ Henley Fringe Festival. The show will be held at the Henley Town Hall Chambers over a period of five days throughout the 21st-26th July. Starring the show is RTC’s own Artistic Director, Oliver Dench, who will be playing all 15 roles using Shakespeare’s original text.

Dame Judi Dench, whose stage and screen roles have seen her perform in many of Shakespeare’s plays, including the role of Ophelia in Hamlet, and serves as an advisor to the American Shakespeare Center and Shakespeare Schools Festival, has given her support by signing on as patron for the company.

RTC aspires to change the face of theatre with their passion for the arts and love of theatre. After meeting together at work, Tom Smith, Oliver Dench and Joe Morris have pooled their performance and technical skills together to offer something new and exciting to the Oxfordshire and Berkshire theatre scene. Their motive is to strip the vanity and indulgence from theatre and take it back to the art using theatre as a tool for purpose, rather than an end to itself. As well as delivering high quality theatre, RTC set out to inspire young minds and promote the power of theatre in educational establishments by taking One-Man Hamlet around local schools after their debut at the Henley Fringe Festival.

Oliver Dench says: “We firmly believe that the common aversion to Shakespeare’s language stems from a lack of exposure to it. Students are forced to study plays in school to a certain level, often with teachers who don’t fully understand the beauty of the language. The emphasis is put on the drama, rather than the poetry (Shakespeare’s real gift to the literary world). Once students become exposed to the occasionally strange syntax and vocabulary of Shakespeare, it becomes far more understandable. The language was written to be heard, not read; it is for this reason that we feel it is so important to show children Shakespeare, rather than have them read it, before they make the conscious decision that it is boring, or difficult, or old, or a host of other adjectives that we have heard applied.”

So set a date in your diary to witness this years’ finest tales of revenge retold from Shakespeare’s original text seen only at the Henley Fringe Festival this summer. Tickets are on-sale now via the Henley Fringe Festival website.

Tickets are available to purchase from Henley Fringe Festival website via or call on 01491 578631

Ticket Prices:

Standard entry only - £8.00

Show Times: 21st – 26th

Monday and Tuesday – 7.30pm
Wednesday – 6.00pm
Thursday – 8.30pm
Friday - 6.30pm and 8.30pm

Tuesday, June 17, 2014

National Theatre 50th Anniversary Timeline App.

Having recently availed myself of an ipad I've had a chance to experience the National Theatre's new archive app highlighting fifty productions from across their half century in existence. Probably rightly, it's not all Shakespeare, but some of the most important productions are there, Olivier's Othello from 1964, Dench and Hopkins in Antony and Cleopatra in 1987, the Lear/Richard III tandem productions from 1990 which ultimate led to the film version of the latter with Ian McKellan, Fiona Shaw in Richard III from 1995 and Ian Holm's Lear in 1997.

Hamlet is represented by the 2000 production with Simon Russell Beale in the title role. The app is image rather than textually rich. There's little in the way of anecdote or analysis of the productions beyond a short introduction by the playwright Nicholas Wright (also a board member at the NT). A more elaborate approach would have included audio or video of the productions and more extensive text, perhaps at least relevant contemporary interviews with the cast and crew. But to be fair, this is free and such material is available elsewhere.

None of which is to devalue what is here, which includes black and white photos from the rehearsal process, Russell Beale wearing a baggy sweatshirt from an NT Othello production, fabric samples from his real costume, and annotated excerpts from the script showing the actor's movements and stage management cues (revealing Osric filled the role usually assigned to a second gravedigger and that the length introduction to Yorick featured in all its glory). The colour shots of the actual production suggest the production was lit in a style which evoked the Jacobian indoor theatre, faces against the darkness.

Overall I suspect the app will be of most interest the theatre scholars and audience members with long associations with the National. Those of us outside of London without access will feel inevitably frustrated. At some point, probably elsewhere, someone (!) should compile an accessibility guide to all this. Many of these productions have been filmed to some extent and even Russell Beale reprised his role for ArkAngel (my second review on here) (I wonder how I'd approach it differently).  But for all that, this is still well worth a download, should you be able to.

The download gateway is here.

Tuesday, May 13, 2014

A Jovial Crew (Arden Early Modern Drama). Edited by Tiffany Stern.

Like most of culture or indeed everything with a history, theatrical history tends to be considered in chunks which in the case of early modern drama for some of us means Elizabethan, Jacobean and Caroline periods but for others is before, during and after Shakespeare’s career. As a result, the fine grain detail of the moments, especially at the fringes, in the wake of epochal changes can be lost. Bog-standard histories will often group the death of Shakespeare in 1616 and the closure of the theatres in 1642 in the wake of the English Civil War together almost as connected events even though there’s clearly a good few decades worth of fascinating events to discover in between.

The latest Arden Early Modern Drama, as with many of the editions in the series seeks to demonstrate that an awful lot did happen in that gap with Richard Brome’s A Jovial Crew, which was the last play staged before the theatres closed. If like me, you’re shelving this series in publication order, this is the edition which will presumably sit at the end of the series and stay there. As the editor Professor Tiffany Stern poignantly explains, Brome, knowing that this would be the last play performed by his company, Beeston’s Boys at the Cockpit Theatre, made sure there were enough parts for everyone, from veterans to youngsters, over thirty speaking roles, and enough spectacle to grandly fill the space one final time.

But it’s also a summation of the preceding decades of theatrical history. In crafting his story of a bored nobility seeking adventure amongst vagabonds, Brome was influenced by the work of his mentor Ben Jonson, parodying pastoral comedies (notably I think As You Like It in general story terms though Stern doesn’t mention this) whilst also drawing from near contemporaries, notably The Spanish Gypsy, a collaboration between Middleton, Rowley, Dekker and John Ford. The language of the plays too, recalls earlier eras, with the cant vocabulary of the beggars sometimes just slightly out of phase with modern coinage due to some extent Brome borrowing from earlier plays.

Ironically, given his theatre’s alternative name, the Phoenix, once the playhouse’s re-opened the play itself became a key influence on theatrical history. Chopped about and rewritten as was the custom in the Restoration period, with chunks of the text replaced with songs (expanding on or substituting the six which are already included), Stern argues that The Jovial Crew (as it had become by then) ultimately became the model for The Beggar’s Opera, the two becoming inseparable until Gay’s 1728 piece carved out its own place. But the play is rarely if never produced on this original form. Even when the RSC mounted a production (with The Beggar’s Opera as a sibling), Brome’s words were extensively substituted and rewritten.

Now the play is commemorated in this fine edition, the first, it’s suggested by the bibliography and the editor’s preface, properly edited version of the text in over forty years. Perhaps understandably, Stern’s introduction keeps to the usual formula of examining the plays characters, politics, themes and language in the first section, then sources, then interweaving the publication and performance history, this being an example of a work in which the two are inextricably linked. For clarity, Stern’s biography of Brome which makes the case for his independence of his from Jonsons, is hidden away in appendix 3 after a glossary of “cant” terms and an investigation of the play's songs.

The general sense one has from this Arden edition is that it finally refocuses and steadies a work that has been in flux from the moment it was written. Brome himself even included updates and rewrites to include more contemporary allusions when the play was published ten years later. Which isn’t to say that Brome has fallen into complete obscurity. As Stern acknowledges, the valuable Brome Online page also has edited versions of all the texts, along with video excerpts from rehearsals of the plays and a thorough staging chronology. But in producing this handsome edition, another punctuation mark in theatrical history is emphasised and how lucky we were that it was a comma rather than a full stop.

A Jovial Crew (Arden Early Modern Drama). Edited by Tiffany Stern.  Bloomsbury. 2014. RRP: £10.99. ISBN: 978-1904271772. Review copy supplied.

Here's an interview with Tiffany Stern about the other end of the period and the opening of the playhouses in London.

Also from the Shakespearean London Theatres (SHALT) project, a short documentary about Christopher Beeston, the owner of the Cockpit where A Jovial Crew was premiered.

Saturday, May 10, 2014

Maxine Peake on Hamlet.

Peake is due to play Hamlet at Manchester's Royal Exchange.  Here she talks to Creative Tourist about the why question:
“Male actors I know who’ve played Hamlet keep saying what a huge responsibility it is to play that part. But, even though I’m petrified, I’m not a man so I don’t feel that sort of responsibility”, she argues. “I just feel excited and, if we fail, we fail. But it’s about having a go, about saying we can do it.” Peak is adamant that this part has got absolutely nothing to do with gender-swapping for shock’s sake. “When there are all-male companies doing Shakespeare, no one minds and no one should bat an eye if a woman plays Hamlet or Henry V,” she asserts. “We’re actors doing a part and, on stage now in 2014, it’s about time there was a freedom to do that. When else are female actors going to get an opportunity to do those great speeches? So far, men have had all the fun!”

Thursday, April 24, 2014

Forty-five Hamlets.

Yesterday for Shakespeare's birthday, The Guardian published forty-five images of Hamlet from various productions.

Which was essentially an opportunity for me to say, "Seen that. Seen that. Haven't seen that. Haven't seen that. Not old enough. Seen that. Seen that."

Michael Billington also offered his suggestions for the best of each the decades in his career.

I still maintain my favourite's been Natalie Quatermass.

Wednesday, April 23, 2014

Shakespeare at the British Pathe Archive:
Happy Birthday!

Today would have been Shakespeare's 450th birthday, so to celebrate let's delve again into the Pathe archive to see how it was marked in earlier years. Essentially it's a history of the traditional tour around Stratford.

We begin in 1920. You'll notice as we continue through these that Stratford doesn't much change across the century.

Our first proper glimpse of the flag raising ceremony in 1930. Sixty-four nations at this point.

In 1936, the birthday was relegated to few shots in the News in a Nutshell montages. Same as 1935.

In 1938 at the dawn of the Second World War. Merriment in general though a key country has been removed from the flagpoles.

A reigning monarch's first visit to Stratford apparently. Includes tour of birthplace and shots inside the Shakespeare Memorial Theatre of a Julius Caesar rehearsal and greeting Anthony Quayle in costume as Henry VIII.

The annual tradition continues in 1957, now in full colour.

It's 1964, the 400th birthday and here we're in in Techniscope and Technicolor. What looks like the opening of The Shakespeare Centre up the road from the birthplace. The Duke of Edinburgh is there. Frustratingly it looks like its been transferred at the wrong speed obliterating the sound.

Oh, hold on, here's the same thing in black white with sound.

Monday, April 21, 2014

The New Yorker's Relics.

Shellshocked. That's the only reaction one can draw from receiving a PR email from the venerable The New Yorker magazine about the Shakespeare related article in the new issue. Since this is a momentous occasion, at least for me, find below the guts of the press release as it appeared in the email:

Why Do We Still Search for Relics of The Bard?

In “The Poet’s Hand” (p. 40), Adam Gopnik explores scholars’ painstaking efforts to discover authentic vestiges of William Shakespeare’s life and work, and the doubt that often surrounds their findings. What drives people to search for bits and pieces of Shakespeareana four hundred and fifty years after his birth? Gopnik met with two Manhattan rare-book dealers, George Koppelman and Daniel Wechsler, who are convinced that a heavily annotated sixteenth-century quadrilingual dictionary they purchased on eBay once belonged to Shakespeare. “They believe that he kept it on his desk and scribbled in its margins, learned French by turning its pages, and was inspired to poetic flights by delving among its Latin synonyms,” Gopnik writes. Some of the connections that Koppelman and Wechsler have espied between the dictionary and the Bard—they are self-publishing their findings this month—“seem a little far-fetched,” Gopnik writes. But some of them “are genuinely arresting.” One counter-argument: the handwriting, Gopnik notes, “just doesn’t look like Shakespeare’s.” Additionally, “there is what might be called the argument from Inherent Improbability: it seems fantastically lucky that, of all the thousands of possible annotators of a single dictionary of the time, it would be the one in the world you would most want to be the guy,” Gopnik writes. “We live in an Elizabethan world of our own reductive devising, populated by the Queen and Ben Jonson and the Dark Lady and the Bard and a theatre full of groundlings.” Gopnik continues: “But the real Elizabethan world had a lot more people in it than that, and countless more possible . . . annotators [of the dictionary].” Shakespeare is a prime candidate “only because we don’t know the names of all the other bird-loving, inquisitive readers who also liked their dabchicks and their French verbs.” Gopnik spoke with Daniel Fischlin, a scholar at Canada’s Guelph University, who has spent years researching the “Sanders portrait,” a painting he believes to be “the best mirror left of Shakespeare’s face.” Though the portrait is dated “1603,” and, Fischlin claims, it can be traced to Shakespeare’s London neighborhood, the portrait does not immediately seem to resemble the one verified image of the poet. David Scott Kastan, a professor of Shakespeare studies at Yale, tells Gopnik that enthusiasts are “trying to get close to this most wonderful and mysterious of authors, this most mysterious genius—what has he touched?” The truth, according to Kastan, “is that it doesn’t change one thing about what we think about Shakespeare or why we love him or why we value him.” He continues, “It’s easy to be glib and dismissive of Bardolotry, but that’s how we all got here, in some way.”

Saturday, April 19, 2014

Hamlet at the British Pathe Archive.

As you might have heard, British Pathe have taken the rather epic decision to upload much of their archive to Youtube, around eighty-five thousand news reels. With that sort of breadth of coverage, most subjects and topics are featured and Hamlet is no exception.

A shot from the 1913 version of Shakespeare's 'Hamlet' starring Sir Johnstone Forbes Robertson. This appears to be Act 1, Scene 1 with Horatio (S A Cookson), Marcellus (A. Roberts) and Bernado (G. Richards) greeting Hamlet Snr for the first time.  Notice how the Ghost is achieved by superimposing one exposure over another on the film. The old Hamlet page at the BBC website contains the follow up scene from the same film of Forbes-Robertson meeting the Ghost for himself., though it's true that the actor could be in the above clip.  It's confusing.  Here's a clip of the actor offering reading of the advice to players. Screen Online has a short essay about the production. Here's a painting of the actor in the part from the V&A's theatre collection and photographs at the National Portrait Gallery and Folger Shakespeare Library.

Here's the footage again in a '63 film about its discovery and restoration.  This would seem to indicate the BFI has the whole film in its archive somewhere though it doesn't appear on their collection of Silent Shakespeare.

Douglas Fairbanks Jnr (!) accepts the 1948 Best Picture and Best Actor Oscars on behalf of Sir Lawrence for his Hamlet.

"Twenty-one gun salute being fired from Hamlet's Castle at Elsinore."

Czechoslovakian craftsman produce a model of Hamlet from glass.

This travelogue offers a colour glimpse of Elsinore (3.40 onwards). Film notes that the palace was actually built in the 16th century.

Monday, April 14, 2014

Globe to Globe Hamlet Kickstarter Appeal.

In a bid to pull together more funding for the Globe to Globe tour, The Globe has begun a Kickstarter. Here's the widget:

They're trying to raise £200k. Click through for the pledge video which is worth watching anyway to offer some idea of the logistics of what's being attempted.  Two Hamlets, three Polonius's.

Friday, March 28, 2014

BBC's Drama of the Week is Hamlet.

Just a quick note to say that Radio 4's Drama of the Week podcast is episode one of Hamlet.

You can download it here.

Hopefully the other four episodes will go up too, but they've been known to only include a single installment of series.

Tuesday, March 25, 2014

Benedict Cumberbatch to play Hamlet.

I'll add a link to The Guardian's article when it's republished. It was up earlier thanks to an embargo jump.

Updated  26/03/2014  Here's a link to The Guardian's article now that it's been republished.

Wednesday, March 19, 2014

Radio 4's Hamlet will be in the Afternoon Drama slot.

Genuinely surprised. Here is Hamlet spread across the whole week in the prestigious 2:15pm slot in five parts (an act per day?) starting next Monday 24th March for five days, total duration about three and three-quarter hours which in audio terms is a mass of airtime allowing space for plenty of the play's textual real estate. For comparison, this is just shorter than the Branagh "full text" film and longer than his Renaissance Theatre production broadcast in 1992.

The programme page is here, with full cast list and clips of Jamie Parker talking about the role.  And here.

Notice that it's not listed as being part of the Afternoon Drama strand, which usually features new drama by living writers.  Will this affect its chances of being a downloadable podcast in the Drama of the Week?

Expect a review here in due course, then.

Friday, March 14, 2014

Shakespeare at the BBC:
More of The Hollow Crown?

At Illuminations, sorry @illuminations, noticed a good case of burying the headline in a Michael Billington column about BBC radio's adaptation of O What A Lovely War. Towards the end he addresses some of my usual complaints about the lack of theatre on television before smuggling what feels like a pretty impressive leak:
"TV, on the other hand, does little to acknowledge the existence of theatre. You might get the occasional news report if there is a startling controversy or the opening of a big musical. The Review Show has been shunted on to a little-seen monthly Sunday-evening slot on BBC4. But, although I'm told there is a second season of Shakespeare history plays being planned for BBC2, it is rare to find a play from the theatrical canon being televised. And none of the big companies, such as the National or the RSC, has established the kind of link with television that they have with cinemas that allows their work to be seen not just around the UK but across the world."
As @illuminations says:

Let's hope so. The first series did well in international sales, especially in the US where it got huge press, certainly more than it received here. As with the other pieces, it has the perfect shape for a series of films, brilliant parts not least John of Arc and ends with Richard III as the finale. The Jane Howell version for the BBC Shakespeare filmed against a venture playground backdrop with hobby horses with Brenda Blethyn as Joan and Ron Cook as Richard is still a high televisual watermark for this material (and only appearance I think for Henry VI), but it is a very stylised piece and it'd be interesting to finally see it with massive casts and no double (even though as the recent Globe productions and the Howell version have shown that can create interesting thematic resonances).

Perhaps my old plan to do the whole of Shakespeare in this format doesn't look so silly after all. Um.

Updated  25/03/2013  The Hollow Crown Season Two commissioned.

Thursday, March 06, 2014

New Hamlet for Radio 4.

The press release for BBC's new Radio 4 awareness drive, the clunkily titled "Character Invasion" does include this interesting nugget:
"Beginning with a new production of Hamlet - often thought of as the definitive character portrayal - starring History Boy Jamie Parker and broadcast over five afternoons in the week leading up to Character Invasion Day"
After seeing Parker in the Globe Henry V, I hoped he'd appear in Hamlet at some point and here he is, albeit on the radio, though it's not clear which slot. Ideally it'll be afternoon drama since it probably needs all of those minutes, but I suspect it'll be a fifteen minute daily broadcast instead. Rosencrantz and Guildenstern unlikely, Fortinbras absent?  In other news, Radio 4 broadcasts Shakespeare.  That's the real surprise.

Tuesday, February 11, 2014

The Prince of Jutland explained.

Gabriel Axel, the director of Hamlet reimagining The Prince of Jutland died recently and The Guardian has an obituary which includes this nugget about the production:
"Prince of Jutland (1994), shot in English in Denmark, was a risible effort to retell the story of Amled, drawing upon the 12th-century work that inspired Shakespeare's Hamlet. The starry cast - Helen Mirren, Kate Beckinsale, Gabriel Byrne and Christian Bale – struggled against bad dialogue and cinematography. There was some excuse for its failure, because Axel fell ill during the editing process and was unable to complete post-production work. In the US, Miramax acquired the rights, re-cut the film and eventually released it on video in 1998 under the title Royal Deceit."
Which explains many of the film's problems, though as you can see from my old review, I really rather enjoyed it, especially the moment when Bale eats a tree.

Thursday, January 30, 2014

Kenneth and Alex.

From the BBC's press office:
"Kenneth Branagh and Alex Kingston to star in new BBC Radio 3 drama of Antony And Cleopatra for Shakespeare’s Birthday: Sunday 20 April

"Actors Kenneth Branagh and Alex Kingston will be cast as Shakespeare’s Antony and Cleopatra in a special production directed by BBC Radio drama’s Alison Hindell for BBC Radio 3 to mark the 450th anniversary of Shakespeare’s birth.

"Commenting on the announcement, Kenneth Branagh said: "I'm so happy to be teamed again with Alison Hindell, whose brilliant production of Life And Fate was one of the great pleasures of my work in radio. I'm also excited to be reunited with Alex Kingston after our hugely rewarding partnership in Macbeth on stage. To play another pair of Shakespeare's great couples, and for a personally beloved medium, is a privilege."

Friday, January 24, 2014

"Hamlet is, of course, the Genesis of the Daleks of Shakespeare."

Philip Sandifer is writing about the history of Doctor Who within a historical and somewhat literary criticism context which sometimes includes material which is influenced or tangentially connected to the television science fiction franchise. This week he's covered David Tennant in Hamlet at the RSC in 2008:
"Hamlet is, of course, the Genesis of the Daleks of Shakespeare - the one that is so canonically the best as to render further discussion oddly superfluous. Like Genesis of the Daleks, it has more than enough oomph to live up to its billing, and yet its status seems oddly out of proportion. Sure, it’s very good, but it’s tough to argue that it’s head and shoulders above King Lear or Othello. But Hamlet is nevertheless the prestige piece - the big one, if you will. Tennant, for his part, is very good at the role. The same skill that makes him a good Doctor - his ability to insert an unusually high volume of decisions into his reading of a given scene - helps him just as well in Shakespeare. He can deliver Shakespearean dialogue at speed in a way that makes the content of the lines clear. This is no mean feat - Shakespeare is brilliant, but the fact that the language is not normal conversational English makes it difficult to pick up on things at conversational speed. Being able to add, in effect, a second channel of communication through gesture and tone of voice helps in a big way. And it’s not particularly distinct from how Tennant is capable of having dialogue about, say, Z-neutrino energy and using it to deliver actual information instead of the patent nonsense that it actually is."
As I said in my original review, what's interesting about Tennant plays the role is that when he's feigning madness he seems to very consciously go full Time Lord, all of the Tenth Doctor's various ticks in full effect which makes the contrast with the darker, more internalised prince all the starker.