Shakespeare References in My Lucky Stars

Shirley MacLaine's My Lucky Stars: A Hollywood Memoir contains a few Shakespeare references. The first two are to the same line from The First Part Of King Henry The Fourth, Falstaff's "The better part of valor is discretion, in the which better part I have saved my life." MacLaine writes, "The better part of valor would be to have no opinion rather than risk disagreement, because disagreement meant time, and time was money, and it was therefore all so wearisome" (pages 10-11). And then she writes, "So the better part of valor for both is just to jump in and hope for the best" (pages 118-119). The book also mentions Kiss Me Kate, an adaptation of The Taming Of The Shrew: "But I remembered that Fosse had danced in a vignette with Carol Haney in Kiss Me Kate" (p. 157). MacLaine also mentions the sonnets: "Sometimes he would drink too much as he recited by heart sonnets of Shakespeare" (p. 295). And there is a reference to Hamlet: "There is an invisible harmony underlying my life and there always has been, as I believe there is in all lives. Our task is to sense it and be true to it. 'There is a divinity that shapes our ends - rough hew them how we will,' said Hamlet" (p. 367). Hamlet speaks those lines to Horatio in Act V Scene ii.

My Lucky Stars: A Hollywood Memoir was published in 1995. The paperback edition was published in December 1996.

Shakespeare References in Acting: The First Six Lessons

It probably comes as no surprise that a book on acting contains several Shakespeare references. Richard Boleslavsky's Acting: The First Six Lessons uses bits from several Shakespeare plays to illustrate its lessons. The book is presented as dialogue between a student referred to as "The Creature" and Richard, who is identified as "I." The first of Shakespeare's plays to be mentioned is King Lear. When I asks The Creature what she played, she responds, "King Lear" (p. 18). And when he asks which part she played, she answers, "King Lear himself" (p. 18). She goes on to say: "Our professor is very strict. He himself worked with me on King Lear" (p. 19). "I" asks, "But can you tell me how your professor, when working on King Lear, wanted you to play these lines for instance: 'Blow winds, and crack your cheeks! Rage! Blow!'" (p. 19). The Creatures responds, in part: "Then, as though cursing heaven, as loud as possible pronounce the words: 'Blow winds and crack your cheeks! Rage! Blow!'" (p. 19). Richard replies, "Thank you, that is quite enough for a clear understanding of the part of King Lear, as well as for a definition of your talent" (p. 19). Boleslavsky then writes: "THE CREATURE: When you curse the heavens, you say it this way: 'Blooooow wiiiiinds, and Craaaaack your cheeks, Raaaaage Blooooow.' (The Creature tries very hard to curse the heavens but through the window I see the azure heavens laughing at the curse. I do the same.) And without cursing them, I must do it some other way. Well... I don't know how... Isn't it funny? Well, this way: (The Creature becomes confused and, with a charming smile, swallowing the words, hurriedly pronounces them all on one note.) 'Blowwindsandcrackyourcheeksrageblow.'" (p. 20). The next reference is to Hamlet: "I saw John Barrymore from the wings when he was playing Hamlet" (p. 22). Then the conversation returns to King Lear: "Is it easier to curse the heavens in King Lear?" (p. 26). Shakespeare is mentioned soon after that: "One can discuss Shakespeare, Moliere, Goethe, and Calderon only with a cultured actor who knows what these men stand for and what has been done in the theatres of the world to produce their plays" (pages 27-28). Then back to King Lear: "Is it another King Lear?" (p. 35). And: "You needn't be ashamed of anything, especially of that King Lear performance" (p. 35). Othello is also mentioned: "A good sensitive artist doesn't need any more than that to play Othello and Desdemona's final scene" (p. 48).

Boleslavsky also refers to Macbeth and Richard The Third: "Wouldn't you like to see and hear Mrs. Siddons right now, acting the lines: 'Here's the smell of the blood still; all the perfumes of Arabia will not sweeten this little hand. Oh! Oh! Oh!' What would you give to learn what Mrs. Siddons did with those 'Oh! Oh! Oh!'s'? They say that people used to faint when she did it; we don't know. And wouldn't you like to hear David Garrick, in Richard III, scorn William Catesby: 'Slave! I have set my life upon a cast./And I will stand the hazard of the die.'" (p. 57). He then mentions Othello again: "I still remember Salvini's reaction when Iago would say: 'But he that filches from me my good name/Robs me of that which not enriches him,/And makes me poor indeed'" (p. 57). He also refers to The Taming Of The Shrew: "The Taming of the Shrew is a play where two people long to love each other in spite of their impossible characters, and succeed in their longing. It might also be a play about a man who triumphs over a woman by 'treating her rough'. It might be a play about a woman who makes everybody's life miserable. Do you grasp the difference?" (p. 62). He then writes, "you looked for words to oppose my arguments, you enjoyed a few Shakespearean lines, and with all that you covered about nine speeches" (pages 65-66).

Boleslavsky returns to Hamlet: "Certainly, only it is more difficult for the actor to keep it going without monotony - 'To be or not to be' has nine sentences with one single action" (p. 67). And then: "To be or not to be. Shakespeare did not take any chances with actors. He told them right in the beginning what he wanted them to do" (pages 67-68). Also about Hamlet: "He is not just a watchman  - he is a splendid impersonation of Francisco, Bernardo, or Marcellus at his post" (p. 74). Again, about Hamlet: "THE CREATURE: 'Good my lord,/How does your honour for this many a day?' (There is a warm sincere affection and respect in her voice. She speaks as if to an elder brother. Then she looks, with fear and trembling, for an imaginary answer. The answer comes.)" (p. 76). The Creature continues to quote Ophelia: "My lord, I have remembrances of yours/That I have longed to re-deliver;/I pray you, now receive them" (p. 176). And he describes her performance. Here are photos of the next few pages:

There is then a reference to Julius Caesar, with The Creature quoting, "Et tu, Brute?" (p. 81), before the two characters return to Hamlet: "It is Hamlet and nobody else. It is Ophelia and nobody else" (p. 85). And then he tells The Creature: "It could have been Lisa, Mary, Ann. But it was not Ophelia. The body was that of a young girl, but not Ophelia's. The mind was that of a young girl, but not Ophelia's" (p. 86). The Creature asks, "What kind of a body had Ophelia?" (p. 86). Soon he says to her: "And when, with that kind of hand, you grasp your heart, it will be a different gesture than the one you made. It will be Ophelia's hand clutching Ophelia's heart, not Miss So-and-So's hand grasping Miss So-and-So's heart" (p. 87). The Creature asks, "Do you mean to say that Ophelia should not think?" (p. 89). The response from "I": "I wouldn't be so rude as that, but I would say that Shakespeare did all the thinking for her. It is his mind at work which you should characterize while acting Ophelia, or for that matter, any Shakespearean character. The same goes forany author who has a mind of his own" (p. 89).

The Tempest, The First Part Of King Henry The Sixth, King Lear and Romeo And Juliet are then referred to: "All of that counts, without regard to whether he is writing words of Caliban or those of Jeanne d'Arc, or those of Osvald. A good writer's fool is no more foolish than his creator's mind, and a prophet no more wise than the man who conceived him. Do you remember Romeo and Juliet? Lady Capulet says about Juliet, 'She's not fourteen'. And then a few pages later Juliet speaks. 'My bounty is as boundless as the sea,/My love as deep; the more I give to thee,/The more I have, for both are infinite.' Confucius could have said that, or Buddha, or St. Francis. If you will try acting Juliet's part in a way which characterizes her mind as a fourteen-year-old mind, you'll be lost. If you try to make her older you'll ruin Shakespeare's theatrical conception which is that of a genius. If you try to explain it by the early maturity of Italian women, by the wisdom of the Italian Renaissance, and so forth, you will be all tangled up in archeology and history, and your inspiration will be gone. All you have to do is to grasp the characterization of Shakespeare's mind and follow it" (pages 90-91). He then continues: "Don't misunderstand me, I'm not trying to describe or explain Shakespeare's mind. No words can describe it. All I am trying to do is to tell you that whatever character of Shakespeare you perform, its mind (not yours but the character's) must have those qualities in its manifestation. You don't have to think like Shakespeare, but the outward quality of thinking must be his" (p. 91).

And regarding Hamlet again, Boleslavsky writes, "When you have mastered the general human emotions in the part, as you have in your Ophelia, when you know when and why anger comes, or pleading, sorrow, joy or despair, whatever the case demands, when it is all clear to you, start to look for one fundamental quality: freedom in expressing your emotions" (p. 93). The book then gets into a specific scene from Hamlet. Here are photos of those pages: 

That chapter ends with a couple of lines from Polonius: "The actors are come hither, my lord - /The best actors in the world..." (p. 96). Then in the next chapter Shakespeare is mentioned: "Shakespeare...Noel Coward..." (p. 100). That's followed by another reference to Macbeth: "She begins like a high priestess or Macbeth's witch, almost rolling back her sleeves" (p. 104). There is then another reference to Hamlet: "A battlefield exposed? The grave of "Poor Yorick"dug out?" (p. 111). There is yet another Hamlet reference, along with one to The Merchant Of Venice: "Suppose in the first act of The Merchant of Venice, Antonio should pay the money on the dot, change his religion and ask for the hand of Jessica... Don't laugh. I am serious. That is an exaggerated example. Here is a legitimate one: 'How all occasions do inform against me,/And spur my dull revenge!/... Rightly to be great/Is not to stir without great argument,/But greatly to find quarrel in a straw/When honour's at the stake.' Which is Hamlet - Act IV, Scene IV. All through Shakespeare you can find those marvelous sign posts for the actor. They are wisely concealed in the text of the plays" (pages 117-118). And then: "If Shakespeare had cast those two, he would have written: Rhythm - The Prince of Arts. Tempo - his bastard Brother" (p. 124). Boleslavsky then uses a speech from The Taming Of The Shrew:

And more from Hamlet: 

At the end of the book, there are advertisements for other theatre books, including A Shakespeare's Workbook by Bertram Joseph and Acting Shakespeare by Bertram Joseph.

Acting: The First Six Lessons was published in 1933. The copy I read was from the thirty-eighth printing, in 1994.

Shakespeare Reference in Obsession

Penelope Neri's novel Obsession contains a reference to Othello. Neri writes, "There, sumptuously robed in historic fashion, and with all due pomp and circumstance, this year's Lord Mayor, James Whitehead, would kneel to pledge his allegiance to his sovereign lady, Queen Victoria, as had so many before him" (p. 118). The phrase "pomp and circumstance" originated in Othello. In Act III Scene iii, Othello says, "The spirit-stirring drum, th' ear-piercing fife,/The royal banner, and all quality,/Pride, pomp and circumstance of glorious war."

Obsession was published in 2003.

Shakespeare References in Weekend

Marlene Fanta Shyer's novel Weekend contains a few Shakespeare references. The first is a reference to The Tempest, using a phrase that originated in that play. Marlene Fanta Shyer writes, "How could a bottle of Listerine disappear into thin air?" (p. 270). That line refers to Prospero's line, "These our actors,/As I foretold you, were all spirits and/Are melted into air, into thin air." There is a second reference to that speech in this book: "diamond necklaces didn't just vanish into thin air the way men did" (p. 298). The other reference is to Shakespeare himself, with Marlele Fanta Shyer writing, "Except in Shakespeare, people didn't just do away with themselves over unrequited love" (p. 271). It's an odd thing for her to write, because I'm not sure what play she is thinking of. Certainly not Romeo And Juliet, for their love is not unrequited. And certainly not Antony And Cleopatra. Or Othello. The characters in Julius Caesar also do not kill themselves over unrequited love. Nor does Lady Macbeth. Nor does Goneril. The only possibility is Ophelia. But there are problems there. First of all, we don't know for sure whether she killed herself or not. Certainly, at least one character believes she did. But even if she did, Hamlet's spurning of her is only one possible cause. A more likely cause is the knowledge that the man she loves accidentally murdered her father. This book also contains a character named Titania.

Weekend was published in 1987.

Shakespeare References in Stage Fright

Ellen Hart's novel Stage Fright contains a few Shakespeare references. The first reference is to Richard The Third: "There's going to be a cast party afterward at Antonia Werness's home in Kenwood. Next to my annual Richard the Third extravaganza, it will be the event of the season" (p. 9). The second is a play on a line from Hamlet. Ellen Hart writes, "Vanity, thy name is Torald" (p. 17), a play on Hamlet's line "Frailty, thy name is woman" in Act I Scene ii. The second part of that book is titled "A Child Of Spleen," and it begins with a line from King Lear: "Create her child of spleen, that it may live/And be a thwart disnatured torment to her" (p. 67). That comes from a speech Lear gives in Act I Scene iv. Also, the book features a character named Cordelia.

Stage Fright was published in 1992. The First Ballantine Books Edition was published in June 1994.

The Comedy Of Errors (Independent Shakespeare Company's 2026 Production) Theatre Review

The Independent Shakespeare Company opened its new production of The Comedy Of Errors last night in Griffith Park, delighting a large crowd, the park echoing with laughter that seemed to continue even after the performance came to an end. This is just the sort of thing people need these days, a performance that is great fun from start to conclusion. During the pandemic, the Independent Shakespeare Company put together its own film adaptation of The Comedy Of Errors, titled Live At The Porpentine, which was streamed online and later made available on DVD. That adaptation featured some delicious original music by David Melville, music that has been brought into the company's current production, certainly a part of what makes this such a fun experience. Some members of the cast from the film reprise their roles here, including Brent Charles as Antipholus of Ephesus, Bukola Ogunmola as Adriana, Carene Rose Mekertichyan as Luciana, Lorenzo Gonzalez as Egeon, and David Melville as Dr. Pinch. The production is directed by Melissa Chalsma, who also plays Amelia, the Abbess.

There is a bright, festive atmosphere to the playing space, which the audience picks up even before the performance begins. The main platform for this production is painted a sky blue, with yellow stars on it, and with a bench at one end. There is a second platform where the band is set up, that space being the Porpentine, the tavern or club where Antipholus of Ephesus dines. Between the platforms are two carts, one selling fruit and flowers, the other selling ice cream. Even the trees in the areas where the audience gathers are decorated, with pink and orange tulle and other items hanging from their branches. The audience, by the way, sits on either side of the main platform, and before the performance, people were encouraged to make festive lanterns at the tables next to the merchandise booth, a way for the audience to take part in the look of the evening. The set design is by BinhAn Nguyen. This production is set in 1949, on the day of the Festival of Saint Phanourios, a patron saint of lost things, a day filled with hope of recovering lost objects. For this play is about brothers who have lost their brothers, parents who have lost their sons and each other.

The performance begins with music, a song that gives a bit of the back story, working as a Chorus, bringing the audience into the world of the play. Kalean Ung, who was phenomenal as Mephistopheles in last year's Doctor Faustus, is on lead vocals, and she delivers a fantastic performance. The band members are all characters in the play, and Kalean is the text's Courtesan, here listed as the Chanteuse, a role she immediately excels at. During the song, there is a nice added moment where the central characters are introduced, the two sets of twins entering the performance space without noting each other. And, as at a concert, lead guitarist Dr. Pinch introduces the band, a clever and playful way of also letting the audience know who is playing what role, such as "on drums, Angelo the jeweler." Dr. Pinch also helps to set up the situation when he welcomes all visitors, "except people from Syracuse." And though our own reality doesn't intrude all that much into this performance, that is a moment that might make us think of how this country remains welcoming of immigrants from certain countries while having nothing but animosity toward those who hail from other lands. And once that is established, Egeon (Lorenzo Gonzalez) is marched in, bound in handcuffs. When he tells his tale of woe, he has the stage to himself, everyone else moving to various sides. On "two goodly sons," there is a joy in his delivery, and we see the love he has for them. His "warrant me they live" is spoken with passion, his eyes cast to the sky. Lorenzo Gonzalez does a wonderful job with this scene, telling his story not just to his captor but to everyone in the audience, gaining the sympathy and compassion of all. And that includes Duke Solinus (Bernardo De Paula), who not only hands Egeon a bucket with which to collect the money that will save his life, but deposits the first coin into it himself. A wonderful touch. The others follow suit. (And we in the audience can't help but also associate that with the theatre company itself, its members carrying buckets for donations at the end of each performance in order to keep the theatre alive.)

Another humorous touch is that when we are introduced to Antipholus of Syracuse (Patrick Batiste) and Dromio of Syracuse (Trinidad James Sandoval), Dromio holds a newspaper whose headline reads, "Syracusans In Ephesus?" Patrick Batiste does an excellent job on the "drop of water" speech. The audience can't help but feel for him, can't help but want everything to turn out well for him. And no worries, it is a comedy, after all! There is a nice playful bit of business where the money is hidden under Dromio's hat. Then when Dromio of Ephesus (Brian Tran) enters through the audience, Antipholus of Syracuse lifts the cap on "tell me this, I pray," only to discover the money is already gone. Brian Tran is especially good on his "I have some marks of yours upon my pate" speech. After Dromio's exit, the band begins, and Antipholus of Syracuse reacts. It is then that he delivers his "They say this town is full of cozenage." Perhaps, but it is also full of great music, and Kalean sings "I Want More Than Kisses," which is a whole lot of fun. Duke Solinus, again proving himself a likeable fellow, dances and drinks on the stage. And a delightfully placed pause in the song elicits much laughter from the audience.

Bukola Ogunmola and Carene Rose Mekertichyan are absolutely wonderful as sisters Adriana and Luciana. Carene Rose Mekertichyan is especially delightful on her "let your will attend on their accords" speech. On Adriana's "should ourselves complain," Luciana stands, as if to respond, but Adriana motions her to wait. And we can see a history there. Bukola does a remarkable job of being truly upset and sad about her husband, while somehow remaining funny. There is a good deal of physical comedy in this performance, as when Dromio of Ephesus somewhat inadvertently pushes Adriana off her seat so that he himself may sit. And Dromio is hilarious as he recounts his conversation with his master. Similar to some added business at the beginning of the performance, there is a nice moment added in which Antipholus of Syracuse just misses his father, who is still trying to collect money in his bucket. Also, a good deal of the production's humor comes in characters' reactions to each other. Particularly good in that respect are Patrick Batiste and Trinidad James Sandoval, in the scene where Dromio of Syracuse asks his master why he is beaten. Dromio's "man thus beaten out of season" is directed out to the audience, as if he is seeking sense there, not getting any from Antipholus.

When Antipholus of Syracuse sees Luciana, his interest in her is immediately apparent. She enters on Antipholus' "there's a time for all things," which, while being earlier than in the text, feels perfect. Then, while his back is turned, Luciana walks away and is replaced by Adriana. What's wonderful is that Adriana's "Some other mistress" ends up referring to her own sister, without her knowing it, of course. There is a delightful stage image at one point in that scene when Antipholus, Dromio, Adriana and Luciana each occupy one corner of the stage, each separate from the others as the confusion of all grows. A door on wheels is brought onto the stage for the great scene where Antipholus of Ephesus is barred from entering his own home, another opportunity for some wonderful physical comedy, as the actors move the door in clockwise fashion so that everyone can view both sides of the action, a Dromio on either side. At one point Antipholus of Epheus enters with an axe to destroy the door and put an end to this confusion, but others stop him. No one wants the fun to come to so quick a conclusion.

The humor is a big part of the production's success, but there is also a sweet aspect to the performance that is incredibly appealing. The scenes with Antipholus of Syracuse and Luciana are especially strong in that regard. Her reaction to his use of the word "divine" is adorable and wonderful. And they engage in a dance as the band plays. Then on his "far more to you do I decline," she becomes alarmed, removing herself from his arms. On "I will dote," he hands her flowers, drawing her to him again, and on "my food," he grabs a soft-serve ice cream cone from the cart to hand to her. The entire sequence is adorable and endearing, and both actors do excellent jobs. Dromio exits in a rush, but stops to grab something from the ice cream cart. Angelo (William Elsman, who played the other Angelo in 2017's production of Measure For Measure) also stops for an ice cream when he exits. William Elsman is always excellent, and is especially funny when trying to get the money for the chain. The officers (Dave Beukers and Astrid Peterson) that are called upon to make arrests are members of the band, just as Angelo is the band's drummer. After Antipholus of Ephesus is arrested, on his "On, officer," he leads the officer rather than the other way around, a nice touch. And speaking of the band, David Melville delivers a solo that is wonderful. "Your eyes, there were two of them." And Kalean Ung is a total delight in her red dress when singing "Antipholus Is Mad." Anyone who has attended performances by Independent Shakespeare Company knows how funny company co-founder David Melville can be, and some of the most hilarious moments of The Comedy Of Errors are when his Dr. Pinch is on stage with his magic bag. And by that point, there is no slowing the momentum of the action and of the comedy. We are on a great ride. And it ends with one last song, "Everyone's Reunited." Things that were lost are found.

This production of The Comedy Of Errors runs through September 6, 2026. There is one intermission, which comes at the end of Act III. By the way, this might be the final production to be put on in that more intimate space farther up the hill, for it looks like the company's permanent stage in the park will be ready for next summer's productions. When introducing the play, the production's director Melissa Chalsma said that "with any luck," they'd be performing on their permanent stage next year. It's great news that this project will finally see its fruition, but there is something to be said about the wonderful intimacy of the current space, and something to be said for the shade there, particularly during this heatwave.

Shakespeare References in Harlow: An Intimate Biography

Irving Shulman's Harlow: An Intimate Biography contains a couple of Shakespeare references. The first is to Hamlet: "However, if subtitles were lacking and if the actor had to interpret in silence the agony of Paul Bern, the necessary gestures would have taxed the ingenuity of a mute Hieronimo, the most hambone Hamlet" (p. 63). And then Irving Shulman writes, "And, because gangsters, as other men, enjoyed the company of starlets, Marino's little black book was deemed as valuable as a Shakespeare First Folio" (p. 266). This book was published in 1964. The copy I read was the Mayflower-Dell paperback.