This is my first ever post with the block editor so… oy, bear with me, confused is an understatement.
Anyway, that’s right, we’ve apparently been doing this for SIX MONTHS (read: 4 calendar weeks x6 – not quite six months but close enough). You know the drill by now. Previous wrap ups here.
The Taming of the Shrew
my role: Lucentio
This is a play that I want to hate for obvious reasons, but the reality is that I don’t, at all. It’s lively and charming – the B plot with Tranio, Lucentio et al is nothing short of delightful – and I actually find it more (a) entertaining and (b) intellectually stimulating than the vast majority of the comedies that I’ve read. That said, the misogyny is, obviously, a hard pill to swallow, and I find it almost impossible to navigate that element in a contemporary production in a way that feels palatable without going against the text. (Incidentally, The Public Theatre’s recent radio play of Richard II includes an interview with a professor who mentions her opinion that we should halt all stagings of Othello, Merchant of Venice, and Shrew until we figure out a way to navigate their unfortunate optics, and the more I think about that comment the more I agree.)
There’s been a recent trend of playing Kate’s final speech (an infamous ode to patriarchy which, addressed to a group of other wives, literally contains the line “place your hands below your husband’s foot”) as sarcastic; implying that the shrew has not been tamed, she has merely learned to perform subservience. It’s a reading that doesn’t totally sit well with me – I just have to wonder, if Kate is performing, to what end? She’s still tied to a marriage with an abusive man, and if her spirit has been broken enough to even perform sincerity rather than continuing to obstinately refuse, to me that feels like a hollow triumph. Of course, watching the alternative, where the shrew has been tamed and Kate’s spirit is irrevocably broken, kind of feels like swallowing glass, especially in the context of a play which is otherwise jovial. It’s hard to walk away from this play feeling the sort of warmth you’re generally meant to experience while watching the comedies.
Unbeknownst to the rest of us, Project Shakespeare’s Kate and Petruchio were actually cooking up a third avenue: they choreographed it so that after Kate’s final speech and Petruchio’s final lines, Kate murders Petruchio. (Click that link to witness 10 people’s complete and utter shock unfold in real time, and scroll down to watch the full 30 second video.) Is it tonally incongruous, PERHAPS, but it was wonderfully cathartic when performed to an audience of feminists and staunch Petruchio haters. This was honestly the only acceptable way for this night to end.
Henry IV Part 1
my roles: Lady Percy, Vernon, Francis, Carrier, Welsh Lady
Probably my most noteworthy unpopular Shakespeare opinion thus far is that (with the exception of Richard II) I strongly dislike the Henriad. (Seriously side-eying everyone who promised me that Henries IV-V would be my favorite history plays, when they are all… solidly my least favorites. JUSTICE FOR KING JOHN.) This one gets a generous 3 stars because I find the conflict between Hal and Hotspur decently compelling, but otherwise… there is not nearly enough here to hold my interest. I also have to confess to zoning out every time Falstaff opens his mouth.
my roles: Queen, Guiderius, Lady, First Brother, First British Captain
I really love Cymbeline. I’m not sure I could argue that this is one of Shakespeare’s better plays – it’s a bit of a mess in the same way Pericles is a bit of a mess, which I adore it for – but god it’s entertaining. I’m weirdly charmed by the genre-hopping in his later plays. Also, this was one of my personal favorite Project Shakespeare performances. Even though it lasted three whole hours (it’s the third-longest Shakespeare play), I was weirdly sad when it ended. The ghost sequence is the hardest I’d laughed in ages.
my roles (first show): Calpurnia, Cinna, Second Citizen, Soothsayer, Second Commoner, Lucilius, Ligarius, Lepidus
my role (second show): Brutus
When I first read Julius Caesar earlier this summer, it quickly became one of my favorite plays; I’ve since read it a handful of times, watched three different productions, and now performed it twice, so… it’s been a whirlwind love affair. One of the reasons I love it so much is purely sentimental so let’s just get that one out of the way – I have never loved anything academically as much as I loved all four years of my high school Latin class, so part of what I love about Julius Caesar is simply that it continues the dialogue around a historical event that I first learned about in a context that I adored. But beyond that, I just think it’s a damn good play. The theme of human fallibility is one that I particularly gravitate toward – and I love the inherent ambiguity built into this play. Whether the assassination of Julius Caesar was ‘correct’ – morally or politically – is a question that has given historians pause for centuries, and what I love about this play is that it has no interest in answering that question. This isn’t a play about heroes and villains, it’s about people making impossible choices and suffering the consequences. And getting to play Brutus was a dream. What a role.
Next up: Henry IV Part 2 – solidly my least favorite play of the 25 I’ve read so far – and then I can be done with the Henriad ONCE AND FOR ALL (we’ve already done Henry V).