Acclaimed director Sam Gold will adapt the Shakespeare tragedy with new music from hitmaker and Taylor Swift collaborator Jack Antonoff
West Side Story’s Rachel Zegler and Heartstopper breakout Kit Connor are set to play Shakespeare’s tragic lovers Romeo and Juliet on Broadway.
Romeo + Juliet will premiere later this year from Tony award-winning director Sam Gold, who has previously taken on other Shakespeare plays such as Macbeth, Othello and King Lear.
Continue reading...Visitors joining in tradition of touching breast of artwork to bring them fortune in relationships have worn hole in it
Tourists in the northern Italian city of Verona have once again created a hole in the right breast of a statue of William Shakespeare’s heroine Juliet.
The bronze statue sits beneath the balcony in a tiny courtyard where Romeo is said to have wooed Juliet, attracting hundreds of visitors each day who flock there for a selfie and to touch the breast as part of a ritual that is believed to bring luck in love.
Continue reading...Oak floorboards discovered at St George’s Guildhall, King’s Lynn, believed to be only surviving stage from Shakespeare’s time
Boards trodden by the Bard have been discovered under layers of flooring at England’s oldest medieval guildhall as it undergoes a big refurbishment.
The 600-year-old oak floorboards are believed to be the only surviving stage from William Shakespeare’s time.
Continue reading...The 1599 author on the difference between historians and novelists, looking at Shakespeare differently and hitchhiking to the Edinburgh festival to immerse himself in the bard’s work
• James Shapiro wins Baillie Gifford anniversary prize with ‘extraordinary’ Shakespeare biography 1599
Serendipity dictated that the American writer and academic James Shapiro received the Baillie Gifford prize for nonfiction’s Winner of Winners award, given to celebrate its 25th year, at a ceremony in Edinburgh. In his teens and early 20s, Shapiro tells me as we talk over Zoom the morning after his victory, he would often hitchhike from London to the Edinburgh festival as part of his immersion in the plays of Shakespeare. This period in his life sowed the ground for his acclaimed book, 1599: A Year in the Life of William Shakespeare, first published in 2006. He was, he explains, recovering from the “awful experience” of studying the playwright in middle school; every summer for several years, he would save up enough money to come to the UK on a Freddie Laker plane, “where you could fly from New York to London for $100 round trip and sleep in church basements and for 50p see spectacular productions”.
In London, Stratford and Edinburgh, he’d see 25 plays in as many days, “and they’re all tattooed inside my skull to this day. The greatest one I saw was Richard Eyre’s Hamlet at the Royal Court in 1980 or so. Richard wrote me a note this morning, and it was so moving to me because that’s where it came from, seeing productions like his.”
Continue reading...Adaptation of Maggie O’Farrell’s novel will premiere at Swan theatre in Stratford-upon-Avon in April
A stage production of a poignant novel about the death of William Shakespeare’s son from plague is to have its world premiere at the Royal Shakespeare Company’s Swan theatre in Stratford-upon-Avon next April.
Hamnet, by Maggie O’Farrell, was published in March 2020, just as the world locked down in response to the Covid pandemic. It tells the story of a family racked by grief at the loss of the 11-year-old, focusing on everyday domestic detail while never naming the boy’s father.
Continue reading...Secondary school competition ‘did not demonstrate the relevance to the contemporary art context of Aotearoa’
New Zealand’s arts council has pulled funding for a Shakespeare festival that has been running in secondary schools for roughly three decades, after questioning its relevance to the country and because it focuses on “a canon of imperialism”.
Every year, the Shakespeare Globe Centre New Zealand runs the Sheilah Winn Shakespeare festival – a secondary school competition where students perform excerpts from Shakespeare’s plays.
Continue reading...Daniel Evans and Tamara Harvey – the first woman to be appointed permanently in the role – take up their posts in June
Michael Billington: An inspired duo to lead the RSC – with an immense task
The Royal Shakespeare Company has appointed two people to be co-artistic directors for the first time in four decades.
Daniel Evans and Tamara Harvey – the first woman to be permanently appointed artistic director at the RSC – will take up their post in June next year.
Continue reading...Katharine Birbalsingh says move to decolonise English curriculum could mean Shakespeare replaced with black and female authors
The headteacher of a school described as the strictest in Britain has warned that William Shakespeare will disappear from classrooms as schools in England come under pressure to decolonise and diversify the curriculum.
Katharine Birbalsingh, the controversial headteacher at Michaela community school in north London, said Shakespeare had already been “lost” in many places in the US and cautioned: “We are following America in this way.”
Continue reading...The internet is full of wonky attributions and made-up catchphrases, from real life and pop culture. Can you tell your Attenborough from your Armstrong?
Those of you who had “Sir David Attenborough has beef with Adelaide shopping mall plaque” on your 2021 bingo cards must have done a victory dance this week. A local conservationist recognised some “honeybee propaganda”, attributed to the legendary naturalist, on a plaque accompanying a Westfield Tea Tree Plaza mural and alerted the relevant authorities (i.e. Sir David himself).
The plaque has been done away with, but plenty more misquotes and misattributions remain. If you’ve ever seen a brush-script quote adorning a black and white photo, a painted sunset, or an embroidered couch cushion and wondered “Hang on a minute …”, this quiz is for you. Last one to finish gets their name attached to a Spider-Man quote on an inspirational $2 shop fridge magnet.
Continue reading...Stunning recreations of the original film’s New York retain the songs and the dancing in a re-telling that will leave you gasping
Steven Spielberg’s West Side Story 2.0 is an ecstatic act of ancestor-worship: a vividly dreamed, cunningly modified and visually staggering revival. No one but Spielberg could have brought it off, creating a movie in which Leonard Bernstein’s score and Stephen Sondheim’s lyrics blaze out with fierce new clarity. Spielberg retains María’s narcissistic I Feel Pretty, transplanted from the bridal workshop to a fancy department store where she’s working as a cleaner. This was the number whose Cowardian skittishness Sondheim himself had second thoughts about. But its confection is entirely palatable.
Spielberg has worked with screenwriter Tony Kushner to change the original book by Arthur Laurents, tilting the emphases and giving new stretches of unsubtitled Spanish dialogue and keeping much of the visual idiom of Jerome Robbins’s stylised choreography. This new West Side Story isn’t updated historically yet neither is it a shot-for-shot remake. But daringly, and maybe almost defiantly, it reproduces the original period ambience with stunning digital fabrications of late-50s New York whose authentic detail co-exists with an unashamed theatricality. On the big screen the effect is hyperreal, as if you have somehow hallucinated your way back 70 years on to both the musical stage for the Broadway opening night and also the city streets outside. I couldn’t watch without gasping those opening “prologue” sequences, in which the camera drifts over the slum-clearance wreckage of Manhattan’s postwar Upper West Side, as if in a sci-fi mystery, with strangely familiar musical phrases echoing up from below ground.
Continue reading...The Royal Shakespeare Company is letting the public watch the usually secret processes towards performance – from clapping games to verse sessions
The creative process normally takes place behind closed doors. But the RSC has boldly upended that idea by streaming its Open Rehearsal Project for Henry VI Part One. What this means, in practice, is that cameras are admitted for three sessions each day. At 10am we watch a half-hour company warm-up. From noon, for 90 minutes, we get to see either a class (movement, combat, verse-speaking) or the rehearsal of a scene. Then at 6pm we eavesdrop on a green-room chat, in which company members mull over progress so far. After dipping in and out for the first fortnight – and there’s still more than a week to go before a streamed performance on 23 June – I’m intrigued by how much I’ve learned.
But are open rehearsals a good idea? There was a pivotal moment when Gregory Doran – who shares direction of the project with Owen Horsley – quoted a letter he’d received from an actor who said “the rehearsal room is sacrosanct – actors must not be exposed like this”. I spoke to a veteran actor who said she too was horrified by the idea of the public witnessing the trial and error that takes place in a rehearsal room.
Continue reading...With the touch of a button, a Sydney Opera House audience rewrites Shakespeare as it is performed in front of them
On Sunday, as part of the Sydney Opera House’s UnWrapped series, a group of dancers “remixed” Shakespeare’s Romeo and Juliet by way of an Australian storytelling technology, Omelia. A product built to shuffle characters and events and generate narrative possibilities in real time, dancers using it brought a new version of the classic tragedy to life. The one-off production, R+J RMX, was filmed for the Opera House’s streaming platform.
The “remix” was interactive: audience members were sent to a website where they could restructure the play with the touch of a button, while on stage narrators and dancers ran through numerous renditions of the story.
Continue reading...Newsreader confuses Bill Shakespeare, 81, ‘the first man to get the coronavirus vaccine’ with ‘one of the most important writers in the English language’
In what can only be described as a comedy of errors, an Argentinian TV news channel delivered a stunning, if slightly flawed, scoop on Thursday night when it reported that William Shakespeare, “one of the most important writers in the English language” had died five months after receiving the Covid vaccine.
The gaffe of, well, Shakespearean proportions happened after Noelia Novillo, a newsreader on Canal 26, mixed up the Bard with William “Bill” Shakespeare, an 81-year-old Warwickshire man who became the second person in the world to get the Pfizer vaccine.
Continue reading...Decade-long feud continues over popular selfie spot linked to Shakespeare’s Romeo and Juliet
Plans to curtail the number of tourists who flock to Verona for a selfie beneath the balcony where Romeo is said to have wooed Juliet have been blocked amid a feud over the site that has lasted more than a decade.
Tourists can enter the tiny courtyard – free-of-charge – simply to take a photo of the balcony or to rub their hand on the right breast of a bronze statue of Juliet as part of a ritual that is said to bring luck in love.
Continue reading...The Women’s prize winner reflects on the life‑threatening virus that shaped her writing, the superstitions that held her back, and why her prize-winning novel Hamnet speaks to our times
Maggie O’Farrell found the prospect of writing the central scenes of her prize-winning novel Hamnet, in which a mother sits helplessly by the bedside of her dying son, so traumatic that she couldn’t write them in the house. Instead, she had to escape to the shed, and “not a smart writing shed like Philip Pullman’s”, she says, “but a really disgusting, spidery, manky potting shed, which has since blown down in a gale”. And she could only do it in short bursts of 15 or 20 minutes before she would have to take a walk around the garden, and then go back in again.
The novel, a fictionalised account of the death of Shakespeare’s only son from the bubonic plague (his twin sister Judith survived) and an at times almost unbearably tender portrayal of grief, was first published a year ago. An interlude halfway through, which follows the journey of the plague in 1595 from a flea on a monkey in Alexandria to a cabin boy back to London and eventually to Stratford, was referred to by an American journalist as “the contact tracing chapter”. “It certainly wasn’t conceived as that when I wrote it,” the author says of the extraordinary coincidence of her novel, set more than 400 years ago, landing in the middle of the pandemic, not least because she delayed writing it for decades.
Continue reading...Exclusive: Bust in Holy Trinity church was modelled by tomb-maker Nicholas Johnson, research finds
They say you should never meet your heroes, which has been just as well for literature fans who for centuries have been told they would never see an accurate likeness of William Shakespeare.
Until recently, there were only two definitive portraits of the playwright widely regarded to be the greatest writer in the English language and both were thought to have been painted posthumously. Art critics have even argued that the most famous – the Cobbe portrait – was more likely to have been a painting of courtier Sir Thomas Overbury, not the Bard at all.
Continue reading...In an exclusive new poem and essay Margaret Atwood reflects on the passing of time and how to create lasting art in a rapidly changing world
Read Dearly by Margaret Atwood
I can say with a measure of certainty – having consulted my poor excuse for a journal – that my poem “Dearly” was written in the third week of August 2017, on a back street of Stratford, Ontario, Canada, with either a pencil or a rollerball (I’d have to check that) on some piece of paper that may have been anything from an old envelope to a shopping list to a notebook page; I’d have to check that as well, but I’m guessing notebook. The language is early 21st-century Canadian English, which accounts for the phrase “less of a shit”, which would never have been used in, for instance, Tennyson’s “In Memoriam AHH”; though something like it might have appeared in one of Chaucer’s more vernacular tales – “lesse of a shitte”, perhaps. This poem was then taken out of a drawer, its handwriting more or less deciphered by me, and typed as a digital document in December 2017. I know that part from the date and time identifier on the document.
Continue reading...Thomas Watson recognised by literary scholars as the Bard’s forgotten 16th-century collaborator
He was one of the most celebrated English playwrights of the 16th century, yet none of his plays survived, and today the name of Thomas Watson is virtually unknown. Now the writer, poet and pioneer of the English madrigal – who also saved the life of the playwright Christopher Marlowe in a street brawl – is being seen in a new light.
Watson has been identified as the most likely primary author of Arden of Faversham, the first domestic tragedy in English, which was published anonymously in 1592. Many scholars believe that five of the play’s scenes were co-authored with William Shakespeare.
Continue reading...Media companies linked to institute that also claims Leonardo da Vinci, Cervantes and Columbus were Catalan
The Catalan government had paid €3m (£2.6m) in subsidies to media companies with close links to a body that claims that Shakespeare, Cervantes and Columbus – among others – were Catalan.
The figures were revealed in a parliamentary answer given by Pere Aragonès, the Catalan vice-president, who said the money had been paid since 2012 to two media companies owned by Albert Codinas, the joint founder and current president of the New History Institute (INH) – one of which shares an address with it.
Continue reading...His take on Shakespeare’s tragedy tapped the zeitgeist, but Zeffirelli’s whole body of work pulsated with an irresistible camp and romanticism
Franco Zeffirelli was the mainstream maestro of high culture on screens big and small who dashingly made his international movie reputation with an exuberant and accessible adaptation of Romeo and Juliet in 1968; this had some pretty trad doublet-and-hose stuff and featured the syrupy “Love” theme composed for the film by Nino Rota which was to become notorious as the music for Simon Bates’s regular tearjerking Our Tune feature on Radio One.
But there were also muscular and athletic performances from a bright-eyed young cast, vigorous and enjoyable playing all round and bold location work. The year before, Zeffirelli had directed Richard Burton and Liz Taylor in another Shakespeare adaptation: The Taming of the Shrew: clever casting of course, but it was the honeyglow-sunlit romanticism of young love in Romeo and Juliet — not cynical middle-aged love — which caught the public imagination, tuned into the zeitgeist and gave Zeffirelli his massive hit.
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