Of course each production–indeed, each performance–of a LIVE play will be unique. Its actors are different, its stage, its costumes, scenery and props are specific to that production design, even if the script stays exactly the same. No two productions of any play will ever be identical.
In fact, although Shakespeare’s plays are among the very oldest “classics” that an American audience is ever likely to see, there is as much or more variation in the way his plays are mounted as in any other playwright’s work.
Written works are protected by copyright for only so long (usually 70 years or so). After that, the author is presumed to have made all the money he or she is going to make on that piece of work. In producing Shakespeare, therefore, our budget is helped by not paying royalties to a publisher.
[However, since we must either 1) purchase printed copies of the script or 2) print our own, there is still certainly some cost involved. In our Dramaturgy post (part 1), we explained how the script was shortened. But it is still 77 pages long, and in a cast of 17 with several production team members, that’s a lot of printing!]
Shakespeare wrote Romeo & Juliet during the Elizabethan era, in England. So should we set the play there and then? Continue reading
Who was Shakespeare?
William Shakespeare was born in Stratford-on-Avon, England, in 1564, and died in 1616. He lived during the reigns of Elizabeth I and her successor, James I. He founded a company of players who called themselves the Lord Chamberlain’s Men, and performed in London theaters, notably the Globe. He wrote 38 plays and 154 sonnets, and is widely considered the greatest writer in the English language.
Did he really write all those plays? Continue reading
A guest post by Nate Chen, who portrays Lord Capulet, Juliet’s father, in our production.
When I sat down to consider how to best play the part of THE Capulet in Romeo and Juliet, I wasn’t thinking of commerce or mercenaries. But
after reading the script, one thing that bothered me was that I couldn’t put my finger on what Capulet’s place in Verona society was supposed to be. He’s important, of course, and he wants everyone to know it. But why is he important? Continue reading
A guest post by Nate Chen, who plays Lord Capulet (Juliet’s father)
Nate first offers some background to the social and political setting of the play:
Shortly before 1000 AD an odd phenomenon started taking place in Italy. People started to immigrate into Italian cities in large numbers. Now in most feudal societies of the era that kind of mass immigration was impossible – you swore your allegiance to a feudal landlord quite early, and paid rent on the land you worked for the rest of your life when you weren’t serving as a foot soldier in your liege’s army. But in Italy, city denizens – or citizens for short – were freed of their allegiance by virtue of living behind really thick walls and the assurances of the city government. This, along with a handful of other guarantees, was one of the first instances of people having rights backed by government.
For most people, the principle of being free of a renter’s life wouldn’t be enough to convince them to uproot from the familiar and go somewhere else. Continue reading
I can hear the murmurs…”Why Shakespeare?” “Why Romeo & Juliet?” “Why in the round?”
I am so glad you asked!
–Shakespeare, because he is the high-water mark of English literature and English language. Many words and phrases still in common use today can be traced to the Bard, and he is still consistently studied by high schoolers across the US and around the world. Moreover, afO always desires to enrich as well as entertain, Continue reading
We have spent a number of years kicking around the idea of doing Shakespeare on our Home Stage. But it never seemed like the right time. Until now! Having found the right show and the right concept to bring it to fresh life…God saw to it that we assembled the right cast, too. Young, enthusiastic and very hard working, they have risen to the challenge of Shakespeare’s language, AND playing him in the round, AND adding sword fights and Elizabethan dance. Continue reading
Kenneth Grahame wrote The Wind in the Willows during what is known as the Golden Age of British children’s literature. Consider that between 1900 and 1930:
- Beatrix Potter wrote and illustrated her many picture books for young children, beginning with The Tale of Peter Rabbit.
- A.A. Milne created Winnie the Pooh.
- E. Nesbit wrote her wonderful children’s novels, including The Railway Children, Five Children and It, and The Enchanted Castle.
- Frances Hodgson Burnett wrote A Little Princess, The Secret Garden and Little Lord Fauntleroy.
- J.M. Barrie created Peter Pan.
And this list is not exhaustive at all. There was also an explosion of American children’s literature at around the same time, The Wizard of Oz, Rebecca of Sunnybrook Farm and Pollyanna, to name a few.
The wonderful thing about all these books, to my mind, is that they are not written “down” to children, over-simplified and dripping with moral lessons. Rather, they are strong original stories which are amusing, engaging and often thought-provoking, but which are most appropriate to the genre (fairly new at the time) of children’s literature. Continue reading