Coriolanus

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Why This Play?:

BECAUSE AFTER A TEN MONTH BREAK FROM THE BLOG I HAD TO PICK A PLAY, ANY PLAY!

I’m one of the three people on the planet who have a Netflix account that still includes DVD borrowing. For about seven months, I had a Netflix copy of Coriolanus sitting in my to-do pile [Everyone has a physical to-do pile, right? Mine consists of jury duty summons and PTA flyers and resides in a corner of my kitchen counters.]. When I finally read the play, I sat on it for another two months before actually writing this post. Count on me to be so close to the end of this project to read the entire canon and to get distracted by something new and shiny in the final round.

That “new and shiny” thing I’ve been distracted with for the past few months? Oh, just grad school to reboot my career. A new leap, a new set of skills and goals and work that have sort of rearranged my entire family’s life. But we’ll pause on that for a bit…on the prideful downfall of a Roman warrior and his loose connection to my little life!

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Pericles, Prince of Tyre

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It is a truth universally acknowledged that most people are capable of revelatory thoughts while bathing.  A few weeks ago, I was musing on the nature of Shakespeare’s romances while washing my hair.  I mean, who doesn’t do that on the regular?  I started to make connections between the three I’ve covered for this project already and the concept of forgiveness that pervades the romances.  But of course, my fledgling idea could be stronger if I actually read the other two romances to see if there are further connections.  So here we are, jumping right in!

Pericles is certainly a strange little fairy tale.  I loved the steadfast Marina, how she works at retaining her innocence despite all the evil circumstances that are thrown her way.  She still seeks to be good and to find and promote goodness in others.  This play got me wondering: is forgiveness a part of the process when we keep someone from doing us harm…and something that we know they’ll later regret?  We all need a conscience, after all.

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Titus Andronicus

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I originally planned on covering this play last October – something fitting about reading Shakespeare’s bloodiest play during the Halloween season.  I read one act and then abandoned it.  The US presidential election happened in the middle of my reading.  My news feed, my friends, my own head, were all filled with such dread, quoting so many voices of violence and anger as well as despair…I just couldn’t take the evil revenge fantasy of this play at the same time (I picked up a copy of the sonnets instead). 

Ugh, this play, y’all.  Titus Andronicus can be pretty revolting (it’s especially hard to watch/read Lavinia’s arc), even for a lover of horror films like me. Not to mention, it’s downright clunky.  It is considered one of Shakespeare’s earliest works, one that tends to be viewed through a lens of knowledge on his later plays.  The younger Shakespeare gives us a shocking, gory, thrill-ride plot with juvenile characters that focus on action rather than self-analysis.  The mature playwright dove inward with his characters as his writing progressed, sometimes to the degree that analysis outweighed action.  It makes sense that his writing would grow and become more refined and nuanced as the man himself sharpened his skills…and just grew older and lived more life.  As we all get older and gain more experience, don’t we do the exact same thing?

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Henry VI, Part III

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This play (and this episode) is squarely centered on the concept of revenge.  Most of the players are less motivated by which monarch they feel is truly ordained by God, and more by getting vengeance for any deceased or disgraced relatives who are collateral in the Wars of Roses.  Getting even at any cost is upheld as the marker of honor.  Any time Henry does the opposite and refuses to act out against his enemies, his supporters and family rebuff him.  Retaliation doesn’t lead to anything good in this play, only death and civil war.  It’s hard to feel righteous about fighting back if your head is displayed on a pike, you know?  Our own acts of retribution for the hurts and wrongs we have suffered tend to be less extreme today (less vigilante king-crowning and murdering), but I wonder if they really do make us feel any better.  When is it best to blaze up in righteous indignation, and when is it best to attempt to forgive and forget?

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Henry VI, Parts I & II

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Why yes, this is my first (only?) combo post!  Two for the price of one and all that.

The Hollow Crown: Wars of the Roses has finally come States-side!  PBS aired the first part just before Christmas, which was a mash-up of the first two Henry VI plays.  I’ve spent the past weeks reading both plays so I can jump into the mini-series head on.  Big hello and how-ya-doing to all my UK pals (and any North American friends with workarounds for streaming the BBC) who saw this over the summer and have practically forgotten all about it by now! 

I wasn’t taken with the themes of the Henry VI plays as much as the process of slimming them down for performance.  I wondered a lot about what makes history, about facts versus perspective and what parts we decide to remember rather than leave behind.  After a year that had the world reeling, it made me consider how I want to treat the history of my 2016.

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King John

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True story – my kids adore Disney’s Robin Hood.  They like to play their own warped version of it, in which I always have to play the part of King John.  They basically run around the park and squeal about how they refuse to pay their taxes while I pretend to throw a fit and suck my thumb (while giving the world’s worst Peter Ustinov impression).  Most parents probably think I’m raising my kids to be some version of Libertarian.  Anyway, some of my online Shakespeare buddies really enjoy this show, so it was time to check it out.  And turns out, I really did as well.  But not for the sniveling king as much as the illegitimate nephew who keeps trying to advise him.  In this modern world, we should all take a page from the Bastard's book.

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Troilus & Cressida

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Why This Play?:

I consulted the list of plays I have to finish reading to complete the canon.  I lifted my index finger.  I waved it around in circles over the list, my other hand held over my eyes.  I pushed said finger down to the page.  I saw that I was to read Troilus and Cressida.  I rejoiced that I was to tackle a play that I had never read nor seen.  I dig getting to dive into the unknown.

And it’s an intriguing play.  I’m surprised it’s not performed more.  It’s technically listed as a comedy under the folio, and academics later dubbed it one of the “problem plays.”  I think that’s what makes it feel so modern.  We have here a tale about the idiocy of war.  We have a tale of inconstant women (whose fate and circumstances are solely decided by men).  And we have some surprisingly fun, witty banter.  Then, an ending that has no resolution at all.  It’s all over the place, and there isn’t really a clear message aside from this: trust no one because people lie and/or change their minds, and war is crazy.  Is this right?  Should we take this Troilus and Cressida as a cautionary tale that the rug can be pulled out from us at any moment? 

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Hamlet

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Why This Play?:

Here we are, tackling one of the most important and recognized works in the history of the English language.  Nothing to be intimidated by, right?  I first read Hamlet when I was 15 years old, in my 10th grade Honors English class.  My teacher, Mr. Birrer, either had high expectations of his class and/or he just really loved getting to teach this play.  That same year, I saw Branagh’s movie (unabridged text; hold on to your hats!) in the theatre.  I think an early introduction to the work really mitigated some of the trepidation I probably would have felt if I had first explored this play in college.  I got the chance to really enjoy it from a plot/characterization standpoint before I had developed my finely honed, pretentious, English major critical thinking skills.  I could just absorb the story for what it essentially is: a punk kid, depressed about his messed-up family situation, argues with himself on how to change his circumstances.

I was very pleased to see a free, 1-hour long production of Hamlet a couple of weeks ago at my local library.  There’s something refreshing about seeing such a dense work (Shakespeare’s longest) stripped to its essence.  It brought to mind my long-ago first reaction to the play – that many teenagers could identify with this confused, angry, sad protagonist, who’s been let down by some of the people he loved most.  I like most to imagine a youthful Hamlet, because I think he struggles with his own capability in making adult decisions.  This guy has a difficult time choosing a course of action and actually pursuing it.  Hamlet as the ultimate stereotype of a hipster philosophy student.  What makes this guy so relatable and famous for so long?  Because like him, at some point, we’ve all been our own worst enemy.

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Cymbeline

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Why This Play?:

If I’m being honest, I read it because this was the next DVD that came up in my Netflix queue.  So let’s continue on the late romance trend!

Cymbeline is known as the single play that includes all of Shakespeare's greatest hits -- a woman disguised as a man, a villain who incites jealousy without cause, reunion of family members, war.  And that's just to name a few.  There's a theme that takes over the entire final scene, with more examples than I've ever seen in any other Bard play -- forgiveness.  Repentance/forgiveness happens in many other works (Hero forgives Claudio, Othello is devastated by his actions, etc).  But in Cymbeline, we see it in spades.  Nearly all the characters get into the game of apologizing and showing mercy.  Which of course, gets me thinking about forgiveness in our own lives.  Is there some secret formula to letting go of past issues and moving on without malice?

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Henry V

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Why This Play?:

Well, we just passed the 600th anniversary of the Battle at Agincourt (Oct 25)!  Plus, my Shakespeare class covered this play two weeks ago, and I’m slowly catching up.  Plus-plus, it’s nice to fully round off the tale of Prince Hal's transformation to King Harry.  The professor leading my online class did a marvelous job of giving a good background on the Tudor history at the time the play was actually written, comparing the character of Henry V and the reality of then monarch, Elizabeth I, as well as paralleling the battles in France with the coming of the Spanish Armada.  Two stirring orators, two beloved English figures who had a myth about them even during their lifetime, two lonely leaders who make hard decisions for their nation.

The thing that struck me most about the play is that it emphasizes just how lonely it can be at the top.  Everyone doubts leaders at some point – especially themselves.  How can the one in charge trust that he will lead others down the correct path?  

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King Lear

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Why This Play?:

I just saw a very interesting production of Lear this past weekend at California Shakespeare Festival.  I was so excited to see one of the most intense, densest plays I’d ever studied, just to see how that level of drama would be staged (and I’m always curious to see what text gets cut along the way).  Plus, literature-challenged Hubs decided to join me! 

The Tragedy of King Lear would best bear the subtitle “How Not to Be a Family, in Every Possible Way”.  We see here examples on how not to parent, how not to act towards a spouse, how not to treat your siblings, and how not to carry out filial duty.  Generational power struggles abound!  And when is it ever a bad time to dive headfirst into an insanely dark tragedy that studies the cruelties of man as determined through free will rather than a pre-destined course?

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