PlayShakespeare.com: The Ultimate Free Shakespeare Resource
PlayShakespeare.com: The Ultimate Free Shakespeare Resource
PlayShakespeare.com: The Ultimate Free Shakespeare Resource
PlayShakespeare.com: The Ultimate Free Shakespeare Resource

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Subscribe to this list via RSS Blog posts tagged in midsummer night's dream

I have recently posted Michael Meigs's review of Measure for Measure, performed by the touring company of the American Shakespeare Center (based in Staunton, VA). Michael is the PlayShakespeare Austin, TX correspondent, and saw the show last week when it came to UT-Austin. His perceptive review contextualizes MM as one of Shakespeare's 'problem plays' and points out the text's many seemingly contradictory currents. In the review, Michael indicates his appreciation of the actors for their solid performances, but takes issue with the direction, feeling that it oversimplifies a complex text. The production's overly-humorous emphasis glosses over important themes.

It is a commonplace to say that every age, every generation, has its preferred Shakespearean plays. The 19th century was apparently enthralled by King John, but the history play is now rarely performed (the only review on PlayShakespeare is here). Other plays, however, are being 'rediscovered' as occasion demands--Troilus and Cressida with the beginning of the Iraq war and Timon of Athens with the start of the financial crisis. Even traditional standards of the repertoire have seen a darkening in tone, as witnessed by the Midsummer Night's Dream from director James Rutherford. Shakespeare's canon is large enough, and his writing insightful enough, to remain topical, it would seem, 'for all time'.

What Michael's review uncovers, however,  is a production that resists (whether through deliberate choice or good-natured obliviousness is unclear) the 'problem' of this 'problem play'. His review brings up the question, 'Must we respond to the "problem plays" as "problems"'? Is an interpretation that ignores the more serious elements of the text a legitimate interpretation? In this day and age, can productions of MM (or T&C, WT, Tempest etc.) get away with a purely lighthearted tone? 

Questions, questions, questions...

Introductions

Posted by on in General

Hello PlayShakespeare community!

My name is Christopher Adams, and I am the new editor for PlayShakespeare. I am excited about the opportunity to work with PlayShakespeare as it enters the new year and looks forward to expanding its scope, both in the US and elsewhere.

In 2011, PlayShakespeare hopes to add reviewers in several cities throughout the US, Canada, and the UK, helping to generate a greater number of reviews and creating a deeper understanding of Shakespearean performance. In the more distant future, the site seeks to become, truly, the place of record for global Shakespearean performance, first focusing on the English-speaking world and then branching into areas further afield. So be on the look-out for reviewer postings in your city.

Additionally, the site is looking to have its finger on the pulse of Shakespearean/Shakespeare-related events by offering book, film, and exhibition reviews.

Already in January our reviewers are scheduled to cover shows in California (Hamlet Has No Legs), New York (Cymbeline, Midsummer Night's Dream), and London. Ron Severdia has already offered his take on the Julie Taymor-directed Tempest  (starring Helen Mirren) and Mary Maher's book Actors Talk About Shakespeare.

My schedule is set to become quite busy, covering the RSC's winter London season (with Julius Caesar, As You Like It, and King Lear left to see). At the end of the month, I'll be attending Comedy of Errors by Sell A Door productions at the Greenwich Playhouse, followed by Richard II, Richard III, and another Comedy of Errors in February (the last two by the all-male company Propeller--they will be featured in an up-coming interview). Indeed, I'm toying with the idea of going on a two-week Shakespeare binge in the latter half of February, since so many productions are set to open. 

The winter is only just the beginning--a warm-up to the full-on extravaganza that is spring/summer Shakespeare. And, at least in the UK, it's looking like it will be a spectacular season. Kevin Spacey (who needs no introduction) is set to star in Richard III at the Old Vic, Michael Sheen (Frost/Nixon, The Queen) in Hamlet at the Young Vic, and David Tennant and Katherine Tate (Doctor Who) are scheduled for Benedick and Beatrice in Much Ado at the Wyndham. The RSC has announced the plays for its up-coming season, making use of its new (and impressive) performance facility in Stratford. The Globe has chosen to commemorate the 400th anniversary of the King James Version of the Bible with its 'The Word is God' season, featuring, among other plays, Hamlet, Doctor Faustus, and a modern play entitled The God of Soho

All in all, it looks to be a busy season.

If you have any questions/comments, feel free to e-mail me at This email address is being protected from spambots. You need JavaScript enabled to view it.

Chris

 

 
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