Talking Shakespeare Neljä (Four)

Dense, Juicy, Layered

David Oyelowo, speaking from Los Angeles, remembered a dusty (and intimidating) copy of Shakespeare’s plays in his family’s Islington council flat. He was later surprised to discover Kenneth Branagh’s film of Henry V was also written by Shakespeare, having watched it as a movie, not caring about the language. The real breakthrough for David, though, was seeing a live production at the National Theatre – the visceral production of Robert Lapage’s mudbath Midsummer Night’s Dream with Timothy Spall as Bottom. David started acting accidentally when he tried to impress a girl by joining a youth theatre and then standing in when another young actor couldn’t attend because of a tube strike. His Theatre Studies teacher, Jill Foster, encouraged him to consider acting as a profession and helped David audition (successfully) for LAMDA. His father fully expected him to “get it out of his system” when he was given small roles (seven lines in Antony and Cleopatra) at the Royal Shakespeare Company. But the bug had bitten and seeing someone like Mark Rylance in his fourth incarnation of Hamlet at The Globe deliver the language with “dexterity, musculariy and elasticity” further reinforced David’s conviction that Shakespeare is the “Everest of Acting… so dense, so juicy, so layered.” 

Greg Doran of the Royal Shakespeare Talking Shakespeare with David Oyelowo, Helen Mirren and Ian McKellen

Vulnerability and Frailty

He gave a very funny account of getting the role of Henry VI and loved “the journey” of his time on Michael Boyd’s production but became weary of the “pioneer” emphasis placed on him by the media wanting to interview him about being the first black actor at the RSC to play an English king. He detected a similarity between Dr Martin Luther King in the movie Selma and Henry VI where the abiding motivation for both characters, as he played them, was religious faith, leading to vulnerability and frailty. David felt that both MLK and Henry VI fully expected everyone around them to be imbued with the same values and were both destabilised when the. His other major Shakespeare role was playing Othello with Daniel Craig and Rachel Brosnahan (as Iago and Desdemona) in an intimate production in New York in 2015. Like Greg Doran, I hope he can be tempted away from Hollywood for more UK stage work in the future.

Selection of David Oyelowo roles: as Henry VI, Othello, Orlando in As You Like It and the movie Selma

Queen Helen

Helen Mirren is a multiple award winner: she has carried home an Oscar, a Tony and an Emmy and has famously played a line of queens: Queen Margaret in the Henry VI trilogy; and on TV and film: Catherine the Great, Elizabeth I and Elizabeth II. She also has the distinction of playing Cleopatra three times, first at the National Youth Theatre in 1963 and then later playing opposite Michael Gambon (1982) and Alan Rickman (1998) as her Antonys. I was lucky to see the 1982 Adrian Noble production (in The Other Place in Stratford-upon-Avon) and for me it became a benchmark production of how epic plays can be staged in small spaces. Helen’s early memories of working at the RSC include watching the generous Ian Richardson from the wings in Coriolanus.  She reminisced about working (warily) with the mercurial Nicol Williamson (on both stage and in the film Excalibur) and played Lady Anne, Julia in Two Gentlemen of Verona and Ophelia to Alan Howard’s Hamlet. She also vividly recounted the touring production of Troilus and Cressida which many argued brought the play back into favour in modern times and she described working with Peter Brook in the legendary project Conference of the Birds which toured the Saharan regions of Africa in 1979.

Helen Mirren as Cleopatra (three times), Cressida, Prospera in The Tempest and Rosalind in As You Like It

Sir Ian ("You shall not pass....")

Ian McKellen has had recent experience of remembering his distinguished acting career as part of his touring one-man show which raised considerable funds for small venues throughout the UK. (Tolkien, Shakespeare, Others and You.) With Greg Doran he shared early memories of seeing and loving theatre and getting involved in amateur and school productions. He always thought Shakespeare seemed fun and enjoyed travelling down from Bolton for school Shakespeare camps in Stratford-upon-Avon. He saw Laurence Olivier, Peggy Ashcroft and Charles Laughton in their prime (but also confessed to sleeping through Olivier’s Corialanus – it was a school trip, after all.) At Cambridge he joined the Marlowe Society and came under the influence of George Rylands who has mentored many of today’s great theatre directors as well as John Barton who persuaded young McKellen he could play the ancient Justice Shallow in Henry IV Part Two. He gave a moving account of working at Nottingham Playhouse with Tyrone Guthrie who gave McKellen confidence about becoming an actor and credits Maggie Smith with recommending him to Olivier to join the Old Vic. He was waspish about Franco Zefirelli and had insights into the impact of Olivier and of touring Shakespeare in the provinces and abroad with Prospect Theatre. I’ve seen many of his stage performances and been lucky to meet him both backstage after Waiting for Godot and at a UK showing of the film Gods and Monsters at Bradford’s Pictureville Cinema. Always gracious and always energetic, with a significant place in popular film history with his portrayals of Magneto and Gandalf, Sir Ian continues to be an astonishing creative force for good in the UK.

Ian McKellen as Romeo, Macbeth, Toby Belch in Twelfth Night (which I saw in Doncaster!), Coriolanus, Richard III, King Lear (twice) and Prospero in The Tempest at Leeds Playhouse

Cutting away the cargo

Royal and Derngate Ghosts photographs by Sheila Burnett

At war with the trolls

On the same weekend I breathed the same air as Sir Ian McKellen (see previousblog), I got to see one of the masterpieces of World Theatre: Ghosts by Henrik Ibsen. The marvellous Penny Downie played Mrs Alving in this production by Lucy Bailey with James Wilby as angry hypocrite Pastor Manders, Pierro Niel-Mee as doomed idealistic Oswald, Declan Conlon as old reprobate Engstrand and Eleanor McLoughlin as a spirited no-nonsense Regina. The production was beautifully designed by Mike Britton with the weather (the mist… the rain…), the light (the sun… give me the sun…) and the elements, particularly fire (quite a bonfire…) filling the atmosphere of the building with tightly wound dread. Ibsen wrote of this play that everyone “shares the responsibility and the guilt of the society to which he belongs. To live is to be at war with trolls in heart and soul.”

Collour picture of Lesley Manville and Jack Lowden in Richard Eyre's production available @ Digital Theatre

Sins of the fathers

In my view, Ibsen runs a close second to Shakespeare in creating an everlasting impact on drama and theatre and Ghosts contains many of the motifs that permeate his work:

• the deadening weight of past conventions and conservative attitudes
• the exposure of the hypocrisy of authoritarian figures and establishments
• the symbolism of primal forces like light, education, fire and architecture
• the contamination of the self, the family, the society, the nation
• the human need for blistering honesty

We all sail with a corpse in the cargo, believed Ibsen, and to be truly free we need to cut away the cargo and free ourselves from the restrictions placed on us by previous generations. Ghosts is like a coiled spring that gnaws at your conscience until the final moments when you are faced with a pietà of grief and glory.

Tolkien, Shakespeare, Others and You

Private audience with a theatrical knight

Legendary icon
It was hard to stop smiling in astonishment and wonder at the sight and sound of an almost-octogenarian’s tour de force one-man-show at the Belgrade Theatre, Coventry tonight. I attended with my long-time Shakespeare buddy, Michael Thompson, who’d badgered the box office for returns and who’d not only got the triumphant call – “yes, we have two seats for you” – but, it turns out in a miraculous alignment of the stars, that one of the seats was sponsored by Sir Ian McKellen so we were invited backstage afterwards to hear the legendary knight throw out some extra choice anecdotes and bestow his iconic glory in a private audience. I’d seen him in a backstage environment before with a group of students during the second run of Waiting for Godot in London (see picture below.) I saw him in that play with two casts, playing opposite both Yorkshireman, Patrick Stewart and the late, great, Roger Rees, as well as superb supporting actors – as witnessed below with Ronald Pickup and Matthew Kelly.

Saw this production twice with two casts but one McKellen....

Over 80 venues across GB
Sir Ian McKellen’s stamina, memory, bravura acting techniques and vocal command are, live in the theatre, marvellous to behold. This particular show started as a one-off review and then expanded into an 80th birthday celebration of a tour of upwards of 80 venues across Great Britain. The profits from each performance are donated to local charities that are either drama or education or community based. The audience become the second character as he drags people onstage, invites shout-outs of answers and the names of Shakespeare plays. But more importantly he controls the audience mood as adeptly as any mind-altering wizard. The gossipy anecdotes are hilarious, the moving tales of his childhood and political activism draw us into a circle of quiet intimacy and his geographical range of acting experiences take us around the globe from Bolton to Yorkshire to the North-East to Nottingham to London to Stratford-upon-Avon, up mountains in New Zealand and to the throne room of Buckingham Palace. Wondrous!

Explanation for this pic in paragraph below...

Tolkien, Shakespeare, T S Eliot, G M Hopkins and more
At the flick of an eyebrow he moved from a doddering, ancient Agatha Christie character to a gauche and youthful Romeo. He mugged mercilessly in pantomime mode as Widow Twankey and recalled the ignition of his passion for live acting when seeing a performance of Peter Pan. He gave us a preview of his forthcoming film performance as Gus, the Theatre Cat in T S Eliot’s and Andrew Lloyd Webber’s Cats (directed by Tom Hooper and adapted by Lee Hall) and dextrously delivered Gerard Manley Hopkins poetry in the finale to the first half. Just when it seemed impossible to admire him more, out poured forth from the depth of his soul one of his party pieces, the famous speech from Sir Thomas More (probably the only example of Shakespeare’s own handwriting which I’ve mentioned in an earlier blog – click here) – the speech which appeals to our shared humanity in how we should treat refugees. A memorable moment at each performance was his reading from Tolkien’s Lord of the Rings and the invitation onto stage of an audience member to wield Gandalf’s mighty sword, Glamdring. Above you can see my dear friend, Amy Lancelot (Creative Education Manager at Leeds Playhouse), receiving the polaroid outcome of just such an encounter at a later performance.

Some of Sir Ian McKellen's Film and TV roles

McKellen TV and Film performances that made an impact on me over the years
1970: Edward II in Edward II by Christopher Marlowe
1976: Macbeth in Macbeth by William Shakespeare
1981: DH Lawrence in Priest of Love by Harry T Moore adapted by Alan Plater
1982: Walter in Channel 4’s Walter by David Cook
1985: Sir Andrew Charleson in Plenty by David Hare
1989: John Profumo in Scandal by Michael Thomas
1995: Amos Starkadder in Cold Comfort Farm by Stella Gibbons adapted by     Malcolm Bradbury
1995: Richard III in Richard III by William Shakespeare
1998: James Whale in Gods and Monsters by Christopher Bram adapted by Bill   Condon
1998: Kurt Dussander in Apt Pupil by Stephen King adapted by Brandon Boyce
2000: Magneto (Eric Lensherr) in X-Men by Tom DeSanto & Bryan Singer (a role he   went on to play in X-Men 2, The Last Stand and Days of Future Past)
2001: Gandalf in Lord of the Rings: Fellowship of the Ring (a role he went on to   play in a further five films and numerous audio projects)
2006 “Sir Ian McKellen” in Extras, created by Ricky Gervais
2015: Sherlock Holmes in Mr Holmes by Arthur Conan Doyle, book by Mitch Cullin   adapted by Jeffrey Hatcher
2015: Norman in The Dresser (with Anthony Hopkins)

A fraction of Sir Ian McKellen's stage appearances

McKellen Stage performances I have seen
1979: Sir Toby Belch in Twelfth Night and Andrei in Chekhov’s Three Sisters on   tour at Dewsbury Town Hall (September)
1988: Acting Shakespeare at Wakefield Theatre Royal (22nd May)
1989: Iago in Shakespeare’s Othello at The Other Place in Stratford-upon-Avon
1997: Captain Hook in Peter Pan at the National Theatre in London
1998: Dr Dorn in Chekhov’s The Seagull at West Yorkshire Playhouse, Leeds
1998: Garry Essendine in Coward’s Present Laughter at West Yorkshire Playhouse,   Leeds
1998: Prospero in Shakespeare’s The Tempest at West Yorkshire Playhouse, Leeds
2007: King Lear in Trevor Nunn’s production of Shakespeare’s King Lear and Sorin   in Chekhov’s The Seagull at the Royal Shakespeare Theatre in Stratford-upon-Avon
2009: Estragon in Beckett’s Waiting for Godot at Theatre Royal, Haymarket in   London
2017: King Lear in Jonathan Munby’s production of Shakespeare’s King Lear (in a   CinemaLive broadcast)

Easter 2019: the Ian McKellen bonus....

What country should give you harbour?

Romans in Britain, A Doll's House, Richard II, Behzti (Honour)

A play may be dangerous
Thomas Middleton’s words (in the sub-heading above) were true in Elizabethan and Jacobean times just as they can be true now: a play may be dangerous. Drama has always had the capacity to be contentious and provocative, although the Internet is the forum today where controversies are most easily stirred up. Shakespeare’s Richard II was banned in its day (because of the scene where the king is forced to abdicate on stage); Ibsen’s A Doll’s House was credited with women walking out on their husbands at the end of the 19th Century; the director of Howard Brenton’s The Romans in Britain was prosecuted under the Sexual Offences Act; and as recently as 2004 British-born playwright Gurpreet Kaur Bhatti was forced into hiding following death threats after her play Behtzi (Honour) had to close after two days of violent demonstrations outside Birmingham Rep.

Turbulent times
An Act of Parliament in 1543, while Henry VIII was establishing the Reformation in England, forbade plays that explicitly explored religious issues. 100 years later in 1642 the parliament (who seven years later would execute King Charles I) banned stage plays altogether.
Between 1543 and 1642 current affairs were in a dangerous state:

• Who would succeed Henry VIII?

1. Would it be the young Edward VI, who was keen on his cousin Lady Jane Grey succeeding him?
2. The pro-Catholic (Bloody) Mary I?
3. The daughter of beheaded Anne Boleyn, Elizabeth I? 
4. (In the event they all did, including Jane, albeit Jane for only nine days!)

• Could the old Catholic forces and new Protestant Church of England find a non-violent accord?
• Could the country manage the effects of the colonisation of the Americas (the New World)?
• Would the economic boom and bust caused by new trade routes ever stabilise?
• How would the population of England deal with the influx of migrants from the new trading partners abroad?
• Could the racial and sectarian conflicts, especially in London, be quelled by the authorities?
• Would the increasing social mobility give the lower and middle classes an inflated sense of their rights and influence?
• Would Spain invade?
• Would the pockets of civil disobedience spread out of control?
• Would the plague destroy the whole of society?

Turbulent times indeed.

Turbulent times in Elizabethan and Jacobean England

Ian McKellen in Stratford-upon-Avon
I enjoyed (most of) the BBC2 broadcast of the Shakespeare Live! presentation from the stage of the Royal Shakespeare Company on the 400th anniversary of Shakespeare’s death – April 23rd 1616. One “act” that struck me as blindingly contemporary was Ian McKellen’s impassioned extract from Sir Thomas More. It’s astonishing that the speech McKellen delivered is the only known example of William Shakespeare’s own handwriting.

Shakespeare's own handwriting

When I saw Sir Thomas More in Stratford-upon-Avon in 2005 it was clear that a central section was indeed by Shakespeare – it had echoes of Coriolanus, King Lear and the Henry VI trilogy and vocabulary that was recognisably Shakespearean. Scholars agree the original work was by Anthony Munday and Henry Chettle but that at least three other playwrights contributed revisions or additional scenes: Shakespeare, Thomas Dekker and Thomas Heywood.

Judi Dench as Elizabeth I and Simon Callow as Sir Edmund Tilney in Shakespeare in Love

What country should give you harbour?

The Master of the Revels, Edmund Tilney (played by Simon Callow in the movie Shakespeare in Love) is known to have banned the play unless major revisions were made – “Leave out the (riot) wholly” he demanded – a clear sign of political censorship. Within Shakespeare’s scenes is the climax of the May Day riot of 1517 when the character of Thomas More persuades the crowd to calm down by imagining the plight of the refugees and asylum-seekers:

Imagine that you see the wretched strangers,
Their babies at their backs, and their poor luggage,
Plodding to the ports and coasts for transportation,
And that you sit as kings in your desires....
....What country, by the nature of your error,
Should give you harbour?....
....would you be pleased
To find a nation of such barbarous temper
That, breaking out in hideous violence,
Would not afford you an abode on earth?

The text is timeless; Ian McKellen delivered the speech as if it were about 2016 not 1517; the sentiments and questions are as powerful now as they were in Shakespeare’s time. If you were an asylum-seeker or a migrant in another country, how would you hope to be treated? The crowd replies to Sir Thomas More:

Faith, he says true: let’s do as we may be done to.

Images of Thomas More (Paul Schofield, Anton Lesser, Nigel Cooke and "wretched strangers"

There And Back Again

One Ring To Rule Them All

It would be hard to resist visiting some of the film locations of Lord of the Rings and The Hobbit if a dream visit to New Zealand ever happened…. My understanding is that New Zealanders have embraced the tourist, creative and employment opportunities resulting from Peter Jackson’s films of Tolkien’s works. Weta workshops are now firmly established as an international leader in 3d modeling, costuming, armour, weaponry and special effects of all kinds.

From Hobbiton to the Dead Marshes….

I imagine that travelling is a key aim for most retirees. “All we have to do is to decide what to do with the time that is given us.” (I imagine Ian McKellen’s voice as Gandalf intoning those words….) I have been lucky over the years to travel to some unusual places: Kenya, China, Finland, Milledgeville (in Georgia, USA.) I hope that retirement will feature some further memorable experiences, before Shakespeare’s seventh age of man kicks in.

Seventh Age: "second childishness and mere oblivion."

There and back again.

It can feel uncomfortable being adrift, as Bilbo Baggins tells his nephew: “It’s a dangerous business, Frodo, going out your door. You step onto the road, and if you don’t keep your feet, there’s no knowing where you might be swept off to.”

I blogged earlier about my idea of home being where your loved ones are. I’ve always taken the subtitle of The Hobbit to heart - There And Back Again; after a journey, it’s always satisfying to return to hearth and home. Going out, coming back. Ebbing and flowing. In the middle of a holiday, it’s good to know that your slippers are waiting at home (unless you took them with you, of course.) Would New Zealand feel just too far away? Perhaps I should stick to walking along the local canal?

Into the Wild

Journeys into the wild are good for putting personal concerns into perspective. When I lived in Helsinki for a year, I undertook a road trip with two Japanese men and a son of one of them; and en route to Nordkapp we called at Hammerfest, the most northern civilian settlement with over 5,000 inhabitants.

Hammerfest in northern Norway

I’ll blog about my year in Scandanavia in the future, but what I’m remembering now is the sense of being on the edge of the world at the mercy of nature. When faced with the spread of cosmic existence, evident in the sight of the galaxy of stars in remote places like Hammerfest (or, I expect, New Zealand), human anxieties can seem insignificant. Worries can gain perspective. “All we have to do is to decide what to do with the time that is given us.”

Cate Blanchett as Galadriel and Elijah Wood as Frodo, image created by vanderstelt-studio

The Smallest Person

Galadriel tells Frodo “Even the smallest person can change the course of history” to reassure him that he has the strength to endure on his quest. The quest goes on. Excelsior!