Shakespeare Reference in Republic

Obviously, there are no Shakespeare references in the actual text of Republic, as Plato lived hundreds of years before William Shakespeare. But the copy I read does mention Shakespeare in the introduction. Actually, it is in the note on the translation which comes just after the introduction. Elizabeth Watson Sharffenberger writes, “To enhance its appeal to an audience familiar with English-language classics, Jowett embellished his version of Republic with language evocative of famous literary works dating from the Renaissance on, and readers of this edition should not be surprised if Socrates and his companions occasionally sound as if they were quoting from Shakespeare or the King James version of the Bible” (p. liii).

Republic is thought to have been written between 380 and 350 B.C.E. Benjamin Jowett’s translation was first published in 1871. My copy, with an introduction and notes by Elizabeth Watson Scharffenberger, was published in 2004 by Barnes & Noble Classics.

Shakespeare References in Cry To Heaven

Anne Rice’s 1982 novel Cry To Heaven contains references to Shakespeare. The first is to The Tempest, with Rice having one character possessing a copy of the book. Rice writes: “He had opened the book again, and his hand moved over the decaying letters, The Tempest, written in English and beneath it the twin columns of print, his voice dropping again into that rhythmic whisper: ‘Full fathom five thy father lies…’” (p. 95). That is a line from Ariel’s song from Act I Scene ii. Then Anne Rice uses a phrase that did not originate with Shakespeare, but which Shakespeare made popular in The Comedy Of Errors. Rice writes, “You could almost convince yourself of the rhyme and reason of heartbreak” (p. 109). In Act II Scene ii of The Comedy Of Errors, Dromio of Syracuse says, “Was there ever any man thus beaten out of season,/When in the why and the wherefore is neither rhyme nor reason?” There is also a nod to Hamlet. The character Tonio enters his mother’s chamber. Rice writes: “‘What will you do?’ she asked suddenly” (p. 112). When Hamlet enters Gertrude’s chamber in Act III Scene iv, Gertrude gets nervous and says, “What wilt thou do?” There is also a short passage that reminds me of Falstaff’s speech in Act V Scene i of The First Part Of King Henry The Fourth. Rice writes: “‘Honor, honor.’ Guido turned wearily to face him. ‘If it has no heart, if it has no wisdom, what is honor? What does it mean? Where is the dishonor in giving this man what he asks of you when you will not be diminished in the slightest?’” (p. 357). It is obviously not a direct reference to Falstaff’s “honor” speech, but it does remind me of it.

Cry To Heaven was published in 1982. The copy I read was the hardcover Book Club Edition.

 

The Winter’s Tale (Will Geer Theatricum Botanicum’s 2024 Production) Theatre Review

Will Geer Theatricum Botanicum opened its 2024 season last night with a new production of William Shakespeare’s The Winter’s Tale, directed by Ellen Geer. It is a play of transformation, a play that begins as a tragedy and ends as a comedy, which feels exactly right in this moment of our nation’s history when perhaps we have taken that turn, those first steps away from tragedy, when so many of us are yearning for a happy conclusion to the current troubles. It is also the play with the most famous of all stage directions. The production stars Aaron Hendry as Leontes, a king who is driven to extreme measures by unwarranted jealousy, and Willow Geer as Hermione, his faithful wife who suffers the effects of that jealousy.

There is very little as far as set dressing in this production, just a couple of chairs on an otherwise bare stage, much like what we know of the productions from Shakespeare’s own time. The performances are the focus, and this production features some excellent performances, by Hendry and Geer, as well as by Tim Halligan as Antigonus, Melora Marshall as Paulina, Earnestine Phillips as the Old Shepherd, Daniel Ramirez as Clown, Franc Ross as Camillo, and Gerald C. Rivers as Autolycus, among others. As the play begins, many of the characters engage in a dance, and interestingly we see Polixenes (Max Lawrence) and Hermione together in the center, which might give a little more weight to Leontes’ suspicions. In this production, we do get the sense that what eventually erupts into a jealous rage has actually been brewing under the surface for a time, though he’s been quietly fighting that idea within himself. There is some playful business between Polixenes and Leontes, which works well at showing they’ve been friends since childhood. As Hermione goes to kneel to beg Polixenes to stay, others go to assist her, thinking it might be some pain due to her pregnancy, a nice touch. There is also a perfect stage picture as Leontes and Hermione embrace, Polixenes just upstage of them and between them. What is also wonderful in this scene is that we see the fondness and love that both Leontes and Hermione have for their child Mamillius (Julius Geer-Polin). It is important to see how much the young prince means to Leontes, so that we feel for the king as he descends into the madness of jealousy, that we get a strong sense of what he loses. Aaron Hendry does such a good job that we in the audience both want to smack him and comfort him. And we look to Camillo to speak for us on stage. Franc Ross does an excellent job as Camillo in this scene. On Leontes’ “My wife is slippery,” Camillo steps back, shocked at what he is hearing, which is perfect. Leontes is lost to anger on his “You lie,” and in that moment we get the sense he is just a step away from violence. It is a powerful and exciting moment. And even then Leontes attempts to calm himself by sitting on his throne, positioned just to the right of the audience.

A little later, when Leontes is in his rage, Paulina steps in front of the other women, as if to protect them, and particularly Hermione, from any violence. I love the relationship between Paulina and Antigonus, and both actors do fantastic jobs in those roles. We find ourselves thinking, if only Leontes would be a little more like Antigonus. However, it is interesting that Antigonus does not tell Paulina about the task given him by Leontes, for later when Leontes says “Thy brat hath been cast out,” she reacts in as much horror and shock as the other women. There is a wonderful moment when Leontes bends down and Hermione goes to touch him, to cure him of this temper. Shakespeare has created a strong character in Hermione, and Willow Geer embodies that strength, and that love. When she enters for her trial, it is from below, like she is emerging from a personal hell, and yet, even in her plain shift and her weakened state, she has a dignity that is to be admired by all in the audience and nearly all who surround her on stage. When Hermione begins to speak, it is out to the audience, but as she gathers her strength, she addresses Leontes directly. Willow Geer is superb in this scene. On her “mistake me not,” she steps out from behind the dock, trying to show strength and to keep from having to lean on that wooden structure.

When Paulina tells Leontes of his wife’s fate, she nearly spits the word “dead” at him. The word is thrust at him like a dagger, and wounds him just as surely. A little later, when Antigonus speaks of his dream of Hermione, Hermione appears upstage of him, entering like a ghost. It feels a somewhat odd choice, because then it is like she is appearing to us as well as to Antigonus, leading us to believe she really is dead. There is another question about that in the text, for Leontes demands to be taken to the bodies of his wife and son. In that moment, so soon after Hermione’s supposed death, would Hermione have had the power and mind to play dead so convincingly? Or did she truly seem dead for a time? We don’t know, because the text doesn’t present the scene. On Antigonus’ “melted into air,” Hermione wails and runs off upstage right. It is the description of Antigonus’ dream, so what we are seeing is his imagination, but it still leaves the impression that Hermione is actually dead. That is followed by that most famous of stage directions, “Exit, pursued by a bear.” And in this production, there is someone in a bear costume who chases Antigonus off stage, and it works. Hermione also appears as Time, the Chorus at the beginning of the fourth act, with Perdita (Sophia Dawson) entering when she is mentioned.

In this production, the Old Shepherd is female, played by Earnestine Phillips, who does a really nice job. The change in gender means that some lines also change, such as “You’re a made old man” becoming “You’re a made old woman.” Another performance that stands out is by Daniel Ramirez as the Old Shepherd’s son, identified as Clown in the text. It is he who speaks the “You’re a made old woman” line. Both are hilarious in that moment when they realize they are rich. But even before that, Ramirez is great as he enters running from the woods off left, and, in an excited state, tells his tale of the ship and the bear. Ramirez is also wonderful when later he gets help from audience members in reading the list of items he is to procure. Particularly hilarious is his delivery of “I must have saffron” after an audience member reads that item from his paper. It’s an absolutely wonderful touch.

Archidamus (Andy Stokan) is added to the scene of Polixenes and Camillo, and with a gesture rather than a line, it is he who gives Polixenes the idea of he and Camillo disguising themselves to see what Polixenes’ son is up to, a humorous moment. For now, of course, the play has moved firmly into the realm of comedy, and so it is the perfect time for Autolycus to make his entrance. He is delightful as he sings his song and encourages the audience to respond. And after lifting the Clown’s purse, he delivers his “charitable office” line to the audience, drawing us into his petty crime, seeming to make us accessories. He is also wonderful when peddling his wares, flanked by Dorcas (Shoshanna Green) and Mopsa (Aubrey Sage), who are themselves delightful. Later his “I have sold all my trump-ery” line gets an appreciate laugh from the audience, folks finding some relief after Trump was found guilty on all thirty-four counts last week.

This company always makes great use of the beautiful area surrounding the actual stage, and it makes sense that once the action moves to a more pastoral setting that the area would be used more, as it is for the first entrance of the Clown, and likewise the entrances of Perdita and Florizel (Christian Jordan Smith). Perdita is adorable on her “What would he say?” And after Polixenes and Camillo enter in disguise, she hands them flowers, a much happier version of Ophelia’s action. Sophia Dawson has a joyous energy that is delightful. Hers is the energy that is really at the heart of these scenes, in contrast to the first half of the play. What is interesting is that when Polixenes gets angry at his son, he reminds us of Leontes, and so by that parallel itself, we know that he is wrong and acting foolishly. And his anger leads the action back to Sicilia, where Leontes is no longer in that frame of mind. Once there, Perdita’s innocence regarding courtly manners is touching. Florizel helps her to kneel before Leontes, a nice moment. Paulina takes great delight in her scheme about choosing a queen for Leontes. And the revealing of the “statue” is done really well. Hermione stands above the others upstage, far enough from the audience that we see no movement before it is intended. And her first movement is to incline her head, before slowly approaching Leontes. By the way, there is a nice silent exchange between the Old Shepherd and Clown when Hermione and Perdita embrace. Again, this is just the sort of ending we are looking for in this nation. As the Old Shepherd says, “thou mettest with things dying, I with things new born.” Something good and positive and new can follow a period of misery and strife.

This production of The Winter’s Tale was directed by Ellen Geer. It runs through September 30, 2024, being performed in repertory with A Midsummer Night’s Dream, Wendy’s Peter Man, Tartuffe: Born Again, and The Hispanic/Latino/Latina/Latinx/Latine Vote. Visit the theatre’s web site for the complete schedule. This is one intermission, coming at the end of Act III. Will Geer Theatricum Botanicum is located at 1419 N. Topanga Canyon Blvd., in Topanga, California.

production photo by Ian Flanders

Shakespeare References in How To Be A Working Actor

How To Be A Working Actor: The Insider’s Guide To Finding Jobs In Theater, Film, And Television contains several Shakespeare references, which isn’t all that surprising. The first reference is to Hamlet. Regarding public transportation in Los Angeles, the authors, Mari Lyn Henry and Lynne Rogers, write, “You could memorize one or two of Hamlet’s soliloquies while waiting for the right bus to come along” (p. 29). The authors next mention Twelfth Night, and that comes on a page containing an example of an actor’s resume in New York. Under Stock, this actor lists Twelfth Night among the plays, her role being Olivia (p. 53). Then in the sample resume for Los Angeles, West Side Story is listed under theatre credits (p. 54). Hamlet is mentioned again on the next page, when quoting Gene Blythe, head of casting for MTM Enterprises: “If they carried a spear at Long Wharf, it means more to me than if they played Hamlet at Orange County, because I know the process to get to Long Wharf” (p. 55). Shakespeare is mentioned in the chapter on young actors: “Classes have been taught by Nicholas Pennell of the Stratford Ontario Shakespeare Festival” (p. 209). And then, about Nancy Niles Sexton, the authors write: “She has lectured and conducted workshops for the Stratford Ontario Shakespearean Festival Foundation, the Arts Councils of Kentucky, Indiana, and Illinois, as well as resident theater training projects at Boston University School of the Theatre and the California Institute of the Arts. She produced the first Shakespeare festival by and for young people in the state of Kentucky and directed the AFTRA award-winning production of The Taming of the Shrew” (p. 209). In that same chapter, regarding Robert MacNaughton, they write, “He had performed in numerous stage productions including The Diviners at the Circle Repertory Theatre in New York and in Henry V with Kevin Kline for the New York Shakespeare Festival” (p. 213). And regarding Charles Sexton, they write, “He has recently received a degree in theater from Southern Methodist University, performed at the Dallas Shakespeare Festival, and served as a summer intern/teacher” (p. 218). There is also a reference to Romeo And Juliet: “At this point the actor must make another transition in mood to a relaxed, smiling, smooth-talking Romeo as he says, ‘And you never shall. Because you’re mine’” (p. 241). The book includes addresses of theaters and festivals, including Alabama Shakespeare Festival (p. 274), Berkeley Shakespeare Festival (p. 274), American Shakespeare Theatre (p. 276), Shakespeare and Company (p. 277), New Jersey Shakespeare Festival (p. 278), New York Shakespeare Festival (p. 279), and North Carolina Shakespeare Festival (p. 280). At the end of the book, there is a list of recommended books, including three whose titles are references to Hamlet: Advice to the Players, Method Or Madness, and Slings and Arrows, all three by Robert Lewis.

How To Be A Working Actor: The Insider’s Guide To Finding Jobs In Theater, Film, And Television was published in 1986.

Shakespeare Reference in Tales From The Red Sox Dugout

Tales From The Red Sox Dugout, written by Jim Prime with Bill Nowlin, contains a Shakespeare reference. Actually, it might contain more, but the copy I read, which is the one my dad owned, is missing several pages. Well, the pages are there, but the text is not. It's weird. Several pages are blank. I wish I'd looked through it more carefully before purchasing it for him. Pages 146, 147, 150, 151, 154, 155, 158 and 159 are all blank. But on page 152, there is a reference to Romeo And Juliet: "What's in a name? Carl Yastrzemski was so popular in Boston that Sherm Feller used to introduce him only by his number: 'Number 8!'" That is a reference to Juliet's famous line, "What's in a name? That which we call a rose/By any other word would smell as sweet."

Tales From The Red Sox Dugout was published in 2001.

Shakespeare References in At Fenway

No matter the subject, it seems nearly every book I read contains Shakespeare references. Dan Shaughnessy's At Fenway: Dispatches From Red Sox Nation contains two. Shaughnessy here quotes an earlier story he wrote: "Sox fans know better. They have seen this play before. The cast changes and new liberties are taken with an ancient script, but Hamlet always dies in the end" (p. 97). There is a similar idea expressed a few pages later, but this time it is King Lear, not Hamlet, that is used: "After the '86 Series, the Globe's Michael Blowen wrote, 'Like the generations of actors who played Lear - Barrymore, Olivier, Welles - the cast may change but the play's the same. It's the Red Sox. The Red Sox transcend the individuals who wear the uniforms, the various managers who direct the different casts each year, and even the game itself'" (p. 105).

At Fenway: Dispatches From Red Sox Nation was published in 1996.

Shakespeare References in The Crying Of Lot 49

Shakespeare references pop up in nearly every book I read. Thomas Pynchon's novel The Crying Of Lot 49 contains a few. The first is to Henry The Fifth, and it comes in a song by one of the characters: "As again we set hopeful to sea;/Once more unto the breach, for those boys on the beach" (p. 18). The reference is the Henry V's speech in which he says, "Once more unto the breach, dear friends, once more,/Or close up the wall with our English dead." Then Pynchon mentions Shakespeare himself: "It isn't literature, it doesn't mean anything. Wharfinger was no Shakespeare" (p. 54). On that same page, Shakespeare is mentioned again in dialogue: "Who was Shakespeare. It was a long time ago." There is another mention of Shakespeare later in the book: "'The historical Shakespeare,' growled one of the grad students through a full beard, uncapping another bottle. 'The historical Marx. The historical Jesus'"' (p. 113).

The Crying Of Lot 49 was published in 1966. The copy I read was from the 17th printing, March 1980.