Shakespeare Reference in You Can Heal Your Life

I had a few boxes of books that I had planned on using as set dressing for a film. We haven’t shot the film, and I no longer have space for the books, so I’ve been so slowly going through the boxes and reading most of them before donating them. So many of them have Shakespeare references, including Louise Hay’s You Can Heal Your Life. This book has a reference to A Midsummer Night’s Dream. Hay writes: “If you saw your problems on a stage in a play by Neil Simon, you would laugh yourself right out of the chair. Tragedy and comedy are the same things. It just depends on your viewpoint! ‘Oh, what fools we mortals be’” (p. 99). “Lord, what fools these mortals be” is a line spoken by Puck in the play’s third act.

You Can Heal Your Life was published in 1984.

Shakespeare References in Meeting The Madwoman

Linda Schierse Leonard’s Meeting The Madwoman contains a couple of Shakespeare references. She mentions two Shakespearean characters in her list of literary “madwomen”: “In world literature, she is also represented by Clytemnestra, Electra, Antigone, Ophelia, Lady Macbeth, Madame Bovary, the Madwoman of Chaillot, and the mad Mrs. Rochester, locked away in the attic in Jane Eyre” (P. 12). Then, approximately halfway through the book, there is another reference to Macbeth: “She portrayed the ambitious Lady Macbeth, obsessed by guilt after she has her husband kill the king” (p. 145).

Meeting The Madwoman was published in 1993. The Bantam trade paperback edition was published in April 1994.

Macbeth (Independent Shakespeare Company’s 2022 Production) Theatre Review

production photo by Grettel Cortes

Macbeth contains arguably the best speech in all of Shakespeare’s plays, the “Tomorrow and tomorrow and tomorrow” speech, which concludes with these lines: “Life’s but a walking shadow, a poor player/That struts and frets his hour upon the stage,/And then is heard no more. It is a tale/Told by an idiot, full of sound and fury,/Signifying nothing.” Those last lines, about the meaninglessness of it all, are incredibly striking. They come just after Macbeth has learned that his wife is dead, and now it seems to him that all is for naught, that this is not the way his story was supposed to proceed. Those lines are especially powerful when the relationship between Macbeth and Lady Macbeth is as strong as it is in the Independent Shakespeare Company’s new production of the play in Griffith Park. This production was directed by David Melville, and features Sam Breen as Macbeth and Kalean Ung as Lady Macbeth.

The company’s planned permanent stage is not yet built, so this production is performed just a bit up the hill from the usual location, at the site of last year’s production of The Tempest. This time the company has chosen to put full emphasis on the words and the performances, with the stage being a simple wood platform, only one level, with no backdrop. As the ground rises behind the stage, this production uses the natural landscape of the park as its backdrop, creating new possibilities for entrances and exits, as well as a natural depth to the performing space, which the company uses to great effect. All that is on the stage as the performance begins are two short ladders, both painted black. Sound is also a key aspect of this production, and there are speakers throughout the audience to help immerse everyone in the atmosphere and action. Before the play begins, an announcement reminds the audience, “Silence your phones, beware of witches.”

The three witches (Carene Mekertichyan, Bukola Ogunmola, Sabra Williams) enter through the audience to the stage, each wearing a different color of facial makeup. Then they continue beyond, up the hill, where they remain in a circle around a tree, holding hands, perfectly still, while the action continues in front of them. It is almost as if they are summoning their powers, and are aware of the action without even viewing it, and it is a wonderfully eerie image. Macbeth and Banquo (Richard Azurdia) use the ladders as horses. And partly because of the sound effect of horse hooves stepping, this elicits some laughter from the audience. Macbeth begins to draw his sword after they tell him he’ll be king, until Banquo’s line stops him. When the witches say “all hail, Macbeth and Banquo,” they face the audience, as if directing us. Macbeth and Banquo have a friendly, somewhat playful relationship, which is great, particularly as it gives Macbeth that much farther to fall. Macbeth’s “Without my stir” lines are delivered to the heavens, as if to ask them to do this work for him, suggesting that he would willingly accept their help and showing that he would prefer to do nothing to fulfill the witches’ prediction. Duncan (David Melville) uses one of the ladders as his throne. As he proclaims his eldest son “Prince of Cumberland,” everyone bows down before him, with Macbeth hesitating briefly before following suit. Clearly Macbeth is surprised by this move, having already grown used to the idea of his own rapid advancement, and now desiring it.

One of the production’s best performances is by Kalean Ung as Lady Macbeth. As she reads the letter, Lady Macbeth grows excited when hearing the prediction that her husband will be king, and it is clear she is ready to plot immediately and push him to action. She looks to the heavens on the “unsex me here” speech, drawing a connection between her and her husband for the audience before we ever see them together, and also showing how strongly this belief in spirits is held in the world of the play. Macbeth enters behind her toward the end of her speech, and so sees her rapture. Lady Macbeth is incredibly seductive as she unfolds her thoughts on what Macbeth should do. How could he do anything but what would please her? The power she has over him is clear. When Duncan and his entourage arrive at Macbeth’s home, a staff is used to announce their royal presence. The dialogue about the castle which then follows is delivered as if to pass the time while waiting for admittance, a nice touch. It’s interesting, for it raises the question of why Lady Macbeth waits as long as she does. Is this part of her plan, or was she perhaps busy working her magic on a rather reluctant Macbeth? As the guests gather upstage, Macbeth watches them. The action then freezes for Macbeth to deliver his “If it were done” speech. What’s wonderful here is how different his demeanor and attitude are when he is away from Lady Macbeth. Here he decides to take no further action, and seems resolute. And when Lady Macbeth enters, Macbeth steps away from her, looking out to the audience, quite a different reaction from that when he first saw her. He faces away from her when he says he will proceed no further, as if worried that by looking at her, his determination will wither. And of course that is what happens. She seduces him into action again. On Macbeth’s “false heart doth know,” he leads Lady Macbeth away by the hand. But she casts one last confident glance at the audience as if to boast that she is control. And a little later, what a delightfully twisted image she presents as she runs up the hill in her white nightgown, holding a bloody dagger in each hand. Then, when she returns, she comes with her bloody hands held high, almost proudly.

When asked if the king is stirring, Macbeth pauses before answering, “Not yet,” another nice touch. Sam Breen is great as Macbeth when watching Lennox’s reaction to the calls of “horror” before reacting himself, echoing his “What’s the matter?” I love that moment. It is like Macbeth is a child learning how to behave in a certain situation. He is cautious at first, but soon that caution seems to disappear as he tells of how he dispatched the men he claims murdered Duncan. Lady Macbeth at that point tries to stop him, worried that he will say something to raise suspicions, eventually resorting to pretending to faint, which works. Though Duncan’s two sons are mentioned, only one actually appears in this production, Malcolm (Kelvin Morales). So the dialogue where they split up is cut. Lady Macbeth is fantastic in the sleepwalking scene. She has changed so much from the woman we first met, and we can’t help but feel for her here. She delivers a powerful and captivating performance. When she takes the light to return to bed, she wanders out into the audience. The ghost of Banquo, already within the audience, follows her, which is an incredible moment, indicating she is close to death.

As I mentioned earlier, this production makes great use of sound throughout the performance. One example is the sound of the interior pulsing of Macbeth’s blood, leading to his “dagger” line. An actual dagger is used, by the way, held up by the witches in front of the stage. This gives extra force to his “witchcraft celebrates” line within that speech. Another example is the great whispering of “Sleep no more” among the audience. Further immersing the audience in the action is the way the three witches use audience members to portray the line of succession of kings, which is wonderful. The violent scenes are handled well. Banquo’s death is not quick. He puts up a fight, as one might expect. And Lady Macduff is killed on the hill behind the stage, her body remaining there throughout the following scene with Macduff (Hideyoshi Akai) and Malcolm, which is interesting, for it keeps her in the audience’s mind even before Macduff learns of her death. And the fight between Macbeth and Macduff is long enough that we believe they are exhausted by the end of it. One particularly interesting moment in that fight sequence is when Macbeth holds two swords and seems all but certain of finishing Macduff, who has but a dagger with which to defend himself. It is then that Macduff reveals that he was “Untimely ripp’d” from his mother’s womb, information that alone seems to conquer Macbeth.

The production’s director, David Melville, plays a few roles. In addition to Duncan, he plays the Porter and Seyton. Known perhaps most for his excellent comedic sense and timing, he especially shines in the role of the Porter. He gets the audience to provide the “Who’s there?” lines during his “Knock, knock” speech, and inserts some lines about current American politics. Talk about equivocating and treason! As Seyton, he provides some humor as well, such as his reaction when he looks out to see the army approaching. And Sam Breen is at his best when Macbeth becomes more unhinged and manic. Then when Seyton delivers the line about Lady Macbeth’s death, there is a long pause as this information strikes Macbeth before he begins the “Tomorrow and tomorrow and tomorrow” speech. And we can sense a great shift in him in that moment. By the time he gets to “Signifying nothing,” Macbeth is angry, which works well leading to the fight scenes. The witches have the final word in this production, returning us to the beginning of the play, as if to suggest that this sort of thing is going to repeat forever, that people will always be foolish in their brief lives.

This production of Macbeth runs through September 4th. There is one intermission, which comes at the end of Act III Scene iv.  The performances are free, but donations are accepted and encouraged. And due to the limited space in this location, registration is required. Visit the Independent Shakespeare Company’s website for the complete schedule, as well as directions and information on registering.

Willy’s Lil Virgin Queen (2022 Online Production) Theatre Review

production photo

Willy’s Lil Virgin Queen is a one-woman show written and performed by Terra Taylor Knudson, and directed by Jessica Lynn Johnson. Often hilarious and yet also quite moving, this show combines Terra Taylor Knudson’s passion for Shakespeare with personal anecdotes marking important moments in her development, as both an actor and a person. One thing that is remarkable is how seamless it all is, the way she is able to move from the words of the bard to her own words and back so easily, creating a flow that pulls the audience into her story. And though she speaks of things from the past, there is a strong sense of immediacy for both her and the audience, especially at key moments. That feeling is so strong that at times we want to offer comfort.

The performance begins with Terra Taylor Knudson giving us a bit of Mistress Page from the beginning of Act II of The Merry Wives Of Windsor, reading the love letter from John Falstaff. Her reaction to the line “You are not young” is delightful. And once she gets to the end of the letter, she breaks from Mistress Page and talks about her first experience with the works of Shakespeare, attending a performance of Merry Wives when she was nine. She doesn’t just speak about it, but rather relives it, taking the audience to the excitement of that moment. The impact of that experience is clear in her voice and body language. She moves back and forth from the play to her reaction to the play, as she is both the performer and the audience, which is wonderful (and I can’t imagine all that easy to do). Some of the humor comes from her admitting that at first she did not understand much of it. “It sounded like English,” she says, “but only when the occasional recognizable word would pass me by, like ‘and’ or ‘the’ or ‘or.’” Certainly, many folks can relate to that. She then describes the moment when the poetry hit her and she was sucked into it, and it was then that she knew that she wanted to perform. It is the sort of passion you hope everyone experiences, if not for Shakespeare specifically, then at least for something. And so even those who might not be extremely knowledgeable about Shakespeare can connect to her performance, to her passion.

Terra Taylor Knudson builds a rapport with the audience by speaking directly to them, and at times interacting with them, as when she asks for a show of hands as to who has seen at least a few of the plays. And for those who are not familiar with Shakespeare, she provides a brief history of his life, joking about those pesky gaps in his known history, and also provides an abbreviated course in English history, related to his history plays, drawing cheers and applause from the audience as she quickly lists the monarchs. She moves in and out of the works themselves, delivering a bit of Joan of Arc from The First Part Of King Henry The Sixth, and a little of Richard The Third, for examples, and making it all so easy to follow, even for those with little to no experience with Shakespeare. She also sneaks in a Monty Python reference, so of course I can’t help but fall for her. The performance is at its most captivating when she connects her own life to certain Shakespearean characters, such as Ophelia. And when describing part of her college dorm experience, she works in my absolute favorite speech from all of Shakespeare’s plays, Macbeth’s “Tomorrow and tomorrow and tomorrow” speech, and does an absolutely great job with it. Much of this performance is hilarious, which makes the serious moments toward the end all the more powerful and heartbreaking, leading to a heartfelt and moving Hamlet. This is a fascinating and completely enjoyable production, showing that Shakespeare is always relevant.

Willy’s Lil Virgin Queen is hosted by C ARTS, and can be viewed by clicking here. Tickets are a pay-what-you-can deal.