A few weeks ago I was lucky enough to be leading a seminar at RADA on Measure for Measure. In preparing for that seminar I found myself disagreeing with much of what I said in my own podcast episode on the play. So here I rebut and refute many of my earlier claims. One of the great pleasures of working on Shakespeare is that one’s opinions are seldom allowed to stand still.
Sir John Falstaff is a river who has burst his banks. He has taken on a life beyond Shakespeare’s plays and become a myth in his own right. Anybody who has a thirst for life is described as Falstaffian, he has had operas written for him, actors at the mature height of their comic powers have repeatedly enjoyed success as this embodiment of festivity and he remains an unassailable favourite with audiences. Is he just very entertaining, or is there more to it than that?
King Lear is a work of obvious genius, so what to say about it in fifteen minutes that can illuminate it? Using the historical idea of service, and the relationship between service and – believe it or not – love, we can get a handle on all sorts of relationships in the play. And Sheldrake thinks these handles can help us whether we are in a classroom, sitting room or rehearsal.
The BBC has had its ups and downs with Shakespeare. One insufficiently well-known up was its series of Shakespeare adaptations broadcast in 2005. In this episode, Sheldrake reviews the set of four ninety-minute adaptations featuring such actors as James McAvoy, Billie Piper, Damian Lewis, Keeley Hawes, Rufus Sewell, Imelda Staunton and Jonny Vegas that would coincidentally make a great Christmas present for the Shakespeare enthusiast.
We all have an image in our mind’s eye of Shakespearean performance during Shakespeare’s lifetime, but what happened between then and now? Why didn’t the Restoration court like Shakespeare? Who is David Garrick? For answers to all these questions and more, seek no further.
A very great number of Shakespeare performances in Britain are conducted by amateur companies. People gathering together to do Shakespeare for fun. The open-air festival is a particularly popular brand of this. Sheldrake has been involved with the Pendley Shakespeare Festival for some time, and from this year’s Festival he uncovers the meanings of Shakespeare that emerge in these kinds of events.
The soliloquy is one of Shakespeare’s most recognisable and distinctive theatrical devices. It is in no small part responsible for his fame as a dramatist of human psychology. Was Julius Caesar the gateway in Shakespeare’s soliloquising art between the 1590s and the 1600s? Sheldrake takes a close look at a few speeches from the play.
If you think Shakespeare was a purely natural genius, the words spilling out from a free spirit of a mind, think again. Shakespeare’s rigorous education at school primed him in all sorts of crucial ways for his later career. Sheldrake explains how at breakneck speed.