Beyond the Mountain Productions’ Bard Fiction, Directed by Christopher Moore

28 Sep
Bard Fiction

Bard Fiction

Take one part Tarantino classic Pulp Fiction,  add in an equal measure of Shakespeare, and stir. What you get is Bard Fiction, a play which presents many iconic scenes of Tarantino’s classic film as if they had been written for the stage by Shakespeare.

Come to think of it, this would have made a great ‘Zounds! submission… Ennoble Marsellus, turn Vincent and Jules into household servants, swap out knives and halberds for guns…

Anyhow, the plot of the play follows the script of Pulp Fiction and the humour of Bard Fiction comes from watching these familiar scenes and seeing how they come out once they’re run through the Bardifier.

(The Bardifier is a complex series of linguistic algorithms codes and supervised by writers Aaron Greer, Ben Tallen & Brian Watson-Jones. It’s a complicated machine. We don’t really understand how it works, and maybe it’s just magic. But we can guarantee that it does work. Trust us!)

Out of the gate, the play is uproariously funny.

First, you get the scene where Ringo (Tim Roth) and Yolanda (Amanda Plummer) are planning to rob the patrons of the dinner. Plenty of foul language language most foul!

The effect of knowing exactly how the scene is going to play out but being surprised at every turn by Shakespearean turn of phrases tickles both the early 90s film freak and the Shakespeare nerd in you. In fact, it’s amazing how little impact the shift from Tarantino’s language to Shakespeare’s actually has on the pacing of the scenes. Did the writers discover the inherently Bardic soul at the heart of Pulp Fiction?

Next come Vincent and Jules (short for Vincenzio and Julius of course), riding in their horse-drawn cart. taking about the differences between England and France. Cue the bardifier! You put in Big Mac and Royale with cheese and out comes Cottage pie or hachis parementier.

See? I told you it works!

This is damned funny stuff, at least at first.

As the novelty starts to wear off though, Bard Fiction becomes less uproariously funny and more, well, just plain funny. Thankfully, the writers realised this as well so instead of getting a recreation of the whole film, Bard Fiction presents a sort of greatest hits and runs a little over an hour.

It’s still really entertaining right up to the end but by the end of the play, that pony’s run about as far as this idea can take.

Still, is there anything more Bard brawl-tastic then the idea behind Bard Fiction? It’s definitely in the spirit of the Bard Brawl and ‘Zounds! which means that if you like either of these two things, you’ll have a great time with this play.

Bard Fiction isn’t a deep exploration of the state of Shakespeare in the 21st century or a thoroughly researched and cogent analysis of the construction of dialogue in the early 90s films of Quentin Tarantino.

It’s just a whole lot of fun and goes to show that the theatre, and Shakespeare’s theatre, doesn’t need to be elitist hard to get into.

Today is the last day Bard Fiction is showing at the Mainline Theatre so head down there and get yourself a ticket,  or check out one of Beyond the Mountain Productions’ upcoming shows!

And hey! Buy ‘Zounds! You’ll never regret or forget it. Volume II is OUT NOW.brassknucklestshirt1.png

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28 Sep madking

The Bard Brawl is currently accepting submissions to the third edition of ‘Zounds! a Bard Brawl Journal. 

Join us.

Artwork - Stephanie E.M. Coleman

Artwork – Stephanie E.M. Coleman


 

For the third instalment of the greatest English Renaissance themed journal in the history of the universe we have chosen a theme inspired by the halls of power corrupted by ambition, greed, vengeance and sometimes straight up psychological trauma:

madking

“O! let me not be mad, not mad, sweet heaven;
Keep me in temper; I would not be mad!”
– King Lear, 1.5.51

 

William Shakespeare’s work is littered by the acts of mad kings. The most obvious example to use as inspiration is Lear, but scratch the surface of Richard III, Richard II, Henry IV, John, Leontes and many more and one can always find a little of the crazy.

Be as literal or as abstract as you like, but always be brawly.

As a bonus, ‘Zounds! is running its first ever writing and art contest in this edition.


It is highly recommended that you pick up a past copy of ‘Zounds! to get an idea of the type of material we print. You can order a copy here.


Email your best creative non-fiction, fiction, artwork or poetry submissions to bardbrawl@gmail.com

Use high resolution JPEGs for artwork.


Stay in Touch Brawlers!

Follow @TheBardBrawl on Twitter.

Like our Facebook page.

Email the Bard Brawl at bardbrawl@gmail.com

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Or leave us a comment right here!

BB: Richard II, Act IV

21 Sep
Artwork - Daniel J. Rowe

Artwork – Daniel J. Rowe

(Podcast recorded and produced by Daniel J. Rowe, blog written and edited by Eric Jean)

Welcome back Brawlers to the Bard Brawl’s tenth play! (trumpets sound)

This week, we bring you act IV of Shakespeare’s The Life and Death of Richard the Second. We know that’s not the catchiest title so we figured we’d give Shakespeare the Bard Brawl boost and help him find a better title. Cast your vote for your favourite alternate title here!

Listen to or download the podcast, or better yet subscribe on iTunes.

Only one scene in act IV but it’s a long one!

Bolingbroke ‘s gathered with his supporters in Westminster Hall in London and it’s time to start settling scores. Bolingbroke accuses Bagot of killing the Duke of Gloucester but Bagot, who’s pretty sure his number is up, is looking to take someone with him so he accuses Aumerle of conspiring against Gloucester and Henry Bolingbroke.

Of course, Aumerle denies the whole thing and challenges Bagot to a fight but Bolingbroke forbids them from fighting.

Sounds familiar?

Then Fitzwater accuses Aumerle of lying so Aumerle threatens to fight it out with him. Henry Percy jumps in on Fitzwater’s behalf and Surrey steps in for Aumerle. Bolingbroke puts his foot down: no vigilante justice this time because Aumerle is going to stand trial.

And then the Duke of York arrives and announces that Richard is giving up his throne and names Henry Bolingbroke to be the new king.

Thing is, the Bishop of Carlisle isn’t too happy about this. Kings are supposed to be chosen by God. You don’t get to just swap them out when you feel like it. Even the king can’t make a new king. So after he’s finished giving his speech about it, they arrest him for treason. Naturally.

To make sure no one can challenge Henry’s claim, they bring Richard out so he can formally hand over the crown. You know, so everyone will know that everything is above-board. Just to be sure, they have Richard confess to a list of crimes which Bolingbroke and company has so thoughtfully prepared for him to read.

It seems Richard’s having second thoughts about the whole thing. He’s taking stock of his life, trying to figure out what’s next for this unpopular, deposed ruler. Customer service representative? Life coach? Long-haul truck driver?

Or probably just a royal corpse.

Richard tries to stall but time’s up. Once he’s made everything official, they cart him off to the Tower.

As soon as everyone leaves, Aumerle turns to the Bishop of Carlisle: “So, we got a plan to get rid of this jackass Bolingbroke?”

This should be good!

The Lord of St. Leonard, Mark Della Posta, returns to the pod and delivers sonnet 39 with all the cunning and style of Roberto “the Manimal” Luongo.

And hey! Buy ‘Zounds! You’ll never regret or forget it. Volume II is OUT NOW.brassknucklestshirt1.png

Stay in Touch Brawlers!

Follow @TheBardBrawl on Twitter.

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What’s your best alternate title for Richard II?

14 Sep Artwork - Stephanie E.M. Coleman

 

The Bard Brawl workshop; September, 2014.

Check out past ‘Zounds!, and submit your own work for the upcoming issue.

IMG_1658

 


 

Stay in Touch Brawlers!

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The fun of Serpents and Shylocks and Moors and Poe

10 Sep

Daniel J. Rowe

Christopher Moore’s menage of Othello, Merchant of Venice and the Cask of Amontillado  is so much dang fun that it would smite my place as a bard brawler not to recommend picking the book up and diving in. Just beware of sea monsters.

Christopher Moore gets from the Bard to Poe to a sea serpent in style in the Serpent of Venice

Christopher Moore gets from the Bard to Poe to a sea serpent in style in the Serpent of Venice

The story begins with three men waiting in Venice for a fool to arrive. The plot is laid for them to off the fool, so they can proceed to reap the bounteous fortunes that await them. They even took care of the monkey. One poisoning later, and the Fool is chained to a wall and being sealed in brick-by-brick by the father of the his sister-in-law. Ba-da-bing and we just got from William Shakespeare to Edgar Allen Poe and we’re only in the second chapter.

And the sea snake hasn’t even showed up!

Christopher Moore’s The Serpent of Venice is a great read that thumps from cover-to-cover with the funny, clever, sometimes really gross rhythm welcome on any Bard Brawler’s shelf.

The book follows the Fool (King Lear’s fool), as he wanders through a Venice haunted by a sea creature that does dirty things to the Fool and deadly things to those you want deadly things done to. The serpent is one of the few characters Shakespeare did not have in either of the plays the plot follows, but I’m sure the bard would have welcomed her presence. At least I hope he would.

Edgar Allen Poe’s short story kicks the story off, and the rest of the novel follows the plots of Othello and Merchant of Venice more or less with a cameo from Marco Polo.

Okay, now you’re showing off Moore.

The book is the ultimate response to the comment, “I want to read Shakespeare, but I don’t understand what’s going on.” The book is simple to follow, and incredibly fun. Iago, Othello, Antonio, Jessica, Shylock and Lorenzo are all there, and Moore is damn clever in twisting the plots together so it reads like one clear novel about a poor Fool trying to avenge the murder of his wife Cordelia? Yep, Lear’s youngest married the Fool in the end. Why not? The speeches are there, as is a general commentary on the plot lines complete with modern swears, sexiness and a bit with a monkey.

Moore also does what all who watch Shakespeare plays secretly want to do: scream at the characters and question their motivations. Why can’t enough be enough Macbeth? Why do you have to think so much Hamlet? Or as the Fool says to Othello in Moore’s book:

Fine. So you would accuse your lady of being untrue – your lady, who did throw all of Venice away for you, stood up to the most powerful men in the republic, for you, Moor,; she you would accuse, without any evidence but the comment of another, yet Iago, who you know to be a villain, a cutthroat, and a traitor – for him you need proof beyond my word? Respect my judgement in this, Othello, if in nothing else, or thou art a fool.

Yeah Othello. Think before you act.

The book also cleverly works in the soliloquies and famous lines from each play ad-libbing here and there, and adding reaction from other characters so that even those who don’t know a lick of Shakespeare will give that, ‘huh. I’ve heard that somewhere,’ or better yet, an ‘oh. I get it now.’

The Serpent of Venice was a joy to read. It adds the flare and seduction of the Bard with the page-turning joy of a clever modern fantasy tale. And how can you not be happy to read what happens to Lorenzo. I’m always sad when I hear sweet music indeed, Jessica. Boom.

The joy of reading Shakespeare is not always an easy sell, and so it’s a pleasure when someone like Moore comes along and makes it come off so easily.

I feel like Moore would be a great bard brawler, and thus could do nothing but commend him for his efforts with the Serpent of Venice. Those students struggling through either Merchant of Venice or Othello would do well to pick up a copy of Moore’s book, and you’ll be well on your way. Of course, you could always just listen to the Bard Brawl podcast, and that would do just as well. Either way.


 

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Follow @TheBardBrawl on Twitter.

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Email the Bard Brawl at bardbrawl@gmail.com

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Richard II, Act III

7 Sep
The ambience for this week's podcast provided by the food for Sir Herman Stern, first toad-kind Bard Brawler.

The ambience for this week’s podcast provided by the food for Sir Herman Stern, first toad-kind Bard Brawler.

(Podcast recorded and produced by Daniel J. Rowe, blog written and edited by Eric Jean)

Hey Brawlers! It’s been a while but summer’s finally (ugh) over so it’s time to get back to our Bardic business. Bear with me for a second while I get my bearings…

Welcome back Brawlers to the Bard Brawl’s tenth play! (trumpets sound)

To celebrate our historic achievement, we bring you Shakespeare history play The Life and Death of Richard the Second. It’s also called Richard II, or R II if you really know your Bard.

Listen to or download the podcast, or better yet subscribe on iTunes.

So here we go.

Act III, scene 1. Henry Bolingbroke and his allies have holed up at Bristol castle and they’ve taken two of King Richard’s cronies captive, Bushy and Green. Hank B’s not too pleased that these two brown-nosers have been spreading rumours that got him banished and that they’ve been living it up on the profits of his stolen lands. To show the world that he is a gentleman (meaning a true-blooded badass and not to be f****d with), he has them killed.

In the mean time, King Richard’s been off in Ireland fighting and comes back to England to discover that Bolingbroke’s back for what’s his. Richard’s followers are afraid that he’s in danger of losing the crown. But the Bishop of Carlisle reassures him that since God made him king, that there’s no way that God would let that happen, right? Provided that he stop whining like a baby, stopped hiding out in this castle in Wales and actually tried to do something about it!

Richard’s not worried though because he knows that the presence of his mighty, supernatural, divine awesomeness will break the rebellion!

But then comes the bad news.

He’s got no army. Worse, a bunch of the nobles who were supposed to back him have switched to Bolingbroke’s side.

Not feeling so mighty now, eh?

Bolingbroke’s forces march their way to Flint castle in Wales where Richard is holed up so Bolingbroke can make his formal demands. He kneels and swears fealty to the king and promises to service him faithfully if he gets his lands back and has his banishment repealed. But just in case, he does remind King Richard that he’s got a pretty big posse ready to kick down the doors and take what he wants by force.

Does Henry mean it when he says he didn’t come here for the crown? I’m not sure but it certainly does remind me of a few other “No, no. Really, I don’t want the absolute power” moments in Shakespeare. There was a certain Richard Gloucester (you know, Richard III) who refused to rule. And also this guys Julius Caesar which you might have heard about.

Finally, the queen’s pretty bummed about all of this Bolingbroke business and her lady is trying to distract her from her doom and gloom thoughts. She’s not having much success. When some gardeners show up to work on the queen’s garden (get your mind out of the gutter!) the two hide to overhear them. Of course, they’re talking about the latest news which is that Richard is probably going to be deposed. She takes it out on the messenger and runs off to find Richard in London.

(Here’s what really going on with all of the gardening crap. It’s an allegory for the kingdom. They’re really describing how Richard II was a bad ruler who couldn’t weed out the dangerous plants and snakes from his garden. He just assumed that being anointed king was enough and that everything would just sort itself out because, hey, he’s the king. Then along comes Henry Bolingbroke looking to graft himself into the royal family tree as king, get it? Sure you do. You’re pretty smart)

That’s it for act III but stay tuned for act IV soon!

The brawl welcomes back the lovely voice of Kayla Cross, who digs into and delivers sonnet 54 like only she can.

And hey! Buy ‘Zounds! You’ll never regret or forget it. Volume II is OUT NOW.brassknucklestshirt1.png

Stay in Touch Brawlers!

Follow @TheBardBrawl on Twitter.

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Email the Bard Brawl at bardbrawl@gmail.com

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Or leave us a comment right here!

The Hollow Crown S01E01; Richard II (2012), Rupert Goold (director)

26 Aug The Hollow Crown series is just what the brawler ordered. Watch it.

Daniel J. Rowe 

The Hollow Crown series kicks off the tetralogy with a bang on the backs of incredible acting talent, savvy directing and an overall appreciation of just how great the histories of William Shakespeare can be.


 

It has long been a question tossed around in the vaunted halls of the Bard Brawl: Why doesn’t anyone produce Shakespeare’s histories?

It seems the only ones who appreciate the brilliance of the history plays are certain medieval re-creation societies, monarchy scholars or the basketball and hockey fans who mistake the Kings in the titles for the sports franchises in LA and Sacramento (though who in their right mind is supporting the Sacramento Kings these days? Am I right?)

The Hollow Crown series answers the question with an exclamation point that looks a lot like an bullet hole. The tetralogy of Richard II, Henry IV part I and II, and Henry V is produced with style, substance and power.

This humble brawler gives his official thank you to whoever pitched the idea first and second to those involved with the project.

Rupert Goold directs Richard II, the first episode in the series, and dang is it good.

Ben Whishaw plays the arrogant, naive, and ultimately tragic king, who first sits comfortable on the throne in glory and pomp, and then laments his kingdom’s passing into the hands of his cousin Henry Bolingbroke (Rory Kinnear).

I know many of you are asking, “why would we ever need more out of Richard II than what the Bard Brawl has already offered us?” To answer: I know, I know, but to watch simply adds to the overall genius of the Bard Brawl’s audio podcasts. That’s all.

Goold’s episode is fantastic.

The performances in the episode are fantastic.

The sets, scenery and style are all, yep, fantastic.

The actors from the leads all the way down to the Gardener (David Bradley), who for some reason gets lead billing, leave no opportunity to show their quality unchecked. The opening scenes between Richard, Bolingbroke and Thomas Mowbray (James Purefoy) can be really confusing and a little boring. It’s hard to understand what the offence is (CCCCEO Eric Jean explains the whole thing if you’re still confused). The three actors with subtle movements and clever reactions put the turmoil in the kingdom into such clear focus it makes those that miss some of the language and real politic of late 12th century England understand what’s going on. These are real people fighting for their honour in a system where the king is head and his subjects below.

There’s a beauty bit early where Mowbray is pleading his case before Richard, and Richard turns to his pet monkey and feeds it. Very nice.

Then there’s this scene:

Shivers. If I don’t meet Captain Picard before I or he dies, I will be sad.

Whishaw and Kinnear’s performances are brilliant. As one’s power crumbles and the other’s rises, their personas and gravitas do the opposite. For one actor to pull this effect off is great, for two in the same production is simply brilliant. Actors out there should study these two talents. I just watched Kinnear in Southcliffe, he was great. Whishaw is in one of my favourite series, the Hour.

Whishaw is tasked with three great soliloquies (never an easy task) starting with the following where the series gets its name:

For God’s sake, let us sit upon the ground
And tell sad stories of the death of kings;
How some have been deposed; some slain in war,
Some haunted by the ghosts they have deposed;
Some poison’d by their wives: some sleeping kill’d;
All murder’d: for within the hollow crown (BING!)
That rounds the mortal temples of a king
Keeps Death his court and there the antic sits,
Scoffing his state and grinning at his pomp,
Allowing him a breath, a little scene,
To monarchize, be fear’d and kill with looks,
Infusing him with self and vain conceit,
As if this flesh which walls about our life,
Were brass impregnable, and humour’d thus
Comes at the last and with a little pin
Bores through his castle wall, and farewell king!
– Act 3, Scene 2

A certain brawler I know loves this monologue and it’s not hard to see why.

Richard’s final scenes as king, and following where he’s forced into advocating the crown are incredible. Goold does not spare on the Christ imagery including a shot of the crownless Richard riding a white donkey to meet the new king Henry IV. It may border on heavy handed symbolism there, but it works (particularly because Whishaw seems destined to be cast as Jesus at some time in the future. It’s the all in the hair and beard).

Oh, and there are heads falling into rivers, and rolling all over the ground for all you gore fans.

As a side note: Al Gore fans might also appreciate the anointed king being supplanted storyline as well. No, tea party members, I am not suggesting your beloved U.S. president is in any way shape or form similar to a king or that dynastic rule full of courts dominated by powerful families is what the land of stars and stripes is destined for. Wait a second…

After watching the first episode of the Hollow Crown, the appetite for more is unavoidable.

Listening to, and reading the histories can be tough. The characters’ names are hard to follow and the plots can be very convoluted. However, that does not mean they are not as great as any of the big gun, seat filling tragedies or comedies.

Richard II is rarely done (although I found this trailer for one that looks crazy interesting). The Hollow Crown episode one was the first time I’d ever seen the play on film or stage, and Goold makes it utterly compelling, incredibly interesting and as powerful as Lear or Othello.

I have, gentle brawlers, become a fan of the Hollow Crown series.

 

BB: King Richard II, Act II

24 Aug 'Zounds! scene ii described by someone as "the greatest follow up to anything anywhere since Italy's 1938 World Cup run."

Greetings Brawlers!

Those of you keeping up with our Twitter page will know that with summer (sadly) winding down (dang I still have to put up that birdhouse), we’ve finally been able to gather the crew and record the next act of Richard II.

However, the next episode isn’t going to be ready for a few days so in the mean time, we thought you might like a little refresher on what’s gone down for the first two acts of the play.

Feel free to check out reviews of some of the Shakespeare Plays the brawlers have checked out over the summer.

Here’s act II again. If you haven’t already, go ahead and check out Act I.

Enjoy!


 

(Podcast recorded and produced by Daniel J. Rowe, blog written and edited by Eric Jean)

This week we have act II of Richard II where you might just see exactly how not to act if you’re an unpopular ruler in search of money.

Listen to or download the podcast, or better yet subscribe on iTunes.

With John of Gaunt (the Duke of Hereford) on his deathbed and his son Henry Bolingbroke banished, King Richard swoops down on Ely house in scene 1 to listen to the dying words of the most popular man in the kingdom.

(BTW, it’s pronounced ‘Eel-y’ House. So says Bard Brawler Niki Lambros whose expertise on the subject of places named after eels we are willing to stipulate to while admitting that zero effort has been made by myself to verify its authenticity. But sounds plausible.)

When the king does arrives, Gaunt has just finished telling the Duke of York that he’s got some harsh words for Richard. Gaunt thinks that the fact that he’s dying is going to make Richard pay attention but the Duke of York’s not so sure that Richard wants to hear about how he’s gone and ruined England.

Yup. Richard doesn’t really dig being called “landlord of England,” that his father would be ashamed of him, that… well, you should really just click on the video of Patrick Stewart here and have a look for yourselves.

After his speech, Gaunt’s carted off and pronounced dead. In the words of his most caring lord, King Richard II, “So much for that.”

Time to cash out!

Richard declares that he’s taking everything Gaunt owns to fund his wars. Problem is, Gaunt has a son, Henry Bolingbroke, and this stuff’s supposed to be his by law.

Now, I’m no expert but stealing someone’s inheritance might just get a few people thinking, “Well, what’s to stop him from taking my lands whenever he wants to.” York tries to talk some sense into Richard but I guess Richard figures he’s got 6 years to come up with a convenient excuse to fix this.

Except for the fact that the way news travels in some of these history plays, there’s a small chance that Bolingbroke will have heard of this even before Richard announced he was taking the money.

Why, who’s that disembarking with an army at Ravenspurgh?!

We’re not even done with the act when a few of the other lords at Ely House decide, “To hell with this chump!” and head off to Ravenspurgh to give their support to Henry Bolingbroke… with the sole intention of helping him reclaim the lands he hadn’t yet lost when he set sail. And in no way shape or form do any of them have any plans to back him should he decide to take the throne.

That ought to work out perfectly.

But what if Henry, supported by a cast of rebellious upstarts like the New York Rangers does in fact have his eye on the crown? Can this Henrik “The King” Lundqvist truly challenge what Mike Richards‘ so-called Kings have taken for granted is theirs? (Ed. So that joke seems a little less timely now… Dang that LA Kings team is good.)

Anyhow.

Change of scenery in scene 2. Richard’s yes-men Bushy and Bagot are trying to comfort the queen. Seems she’s got a bad feeling that things aren’t going to work out for King Dick II. Then Green arrives and informs everyone that Bolingbroke’s back and bleeding Richard’s support so things look damn shitty. And the Duke of York, who’s been left behind to keep the peace while the king is in Ireland, knows it. In fact, he’s torn up: on the one hand, he took and oath to the king. On the other hand, Richard’s an asshole and Bolingbroke is kind of awesome.

Still, he commits to fighting the rebels because that’s the kind of guy he is. The king’s cronies – Bushy, Bagot and Green – just bail of course and go into hiding hoping they’ll still have heads when this is finally done.

Meanwhile, in a forest somewhere in Gloucestershire, Henry Bolingbroke is leading a growing army towards Berkeley. (Here, not here.) He’s joined along the way by some of the other lords who think he’s been shafted by Richard. His main allies are Earl of Northumberland and his son, Henry Percy. It just so happens they hate Richard’s guts so this seemed like the perfect opportunity to stick it to him.

The Duke of York arrives and demands to know what he #$%@ is going on. Smooth-talking Bolingbroke tries to talk his way around the problem but York’s not having any of it: he accuses him of treason. Henry tells him that he’s come to take his lands by force only because the king can’t be reasoned with. And of course he pinky swears that he’s not at all interested in the crown “no sir, just my lands please and thank you.”

York’s not convinced but he knows that he can’t beat them so he just decides he’s going to stay out of it… but there’s no harm in inviting everyone in for tea and a sleep-over, right?

Finally, just when we thought it was looking bad enough for the king, we learn in scene 4 that some of the last of his supporters are sick and tired of waiting around for what is going to be a fight they’re bound to lose. The earl of Salisbury, one of the few nobles still loyal to Richard, calls the fight before the first round even starts: seeya later Dick.

Welcome back to the land of the brawlers Jack Konorska, who lends his musically blissful voice to sonnet 32.

So now what? I bet you’ll find out in the next episode of the Bard Brawl.

And hey! Buy ‘Zounds! You’ll never regret or forget it. Volume II is OUT NOW.brassknucklestshirt1.png

Stay in Touch Brawlers!

Follow @TheBardBrawl on Twitter.

Like our Facebook page.

Email the Bard Brawl at bardbrawl@gmail.com

Subscribe to the podcast on iTunes

Or leave us a comment right here!

Weather the Tempest and you will not regret the storm

20 Aug Jennifer Lines shines as Ariel in The Tempest.
Photo and image design - David and Emily Cooper

Daniel J. Rowe

In the final trip to the Bard on the Beach for the Bard Brawl the Tempest awaited. It is an entirely unique play in William Shakespeare’s cannon and has the potential to be one of the most entertaining, provoking and touching. It can fall flat or be incredibly moving.

Did director Meg Roe pull it out under the tent?

To quote Omar from the Wire, ‘Indeed.’ (That was Shakespeare right?)

Meg Roe's Tempest finds the balance between wonder and soliloquy at Bard on the Beach. Photo credit - David Blue

Meg Roe’s Tempest finds the balance between wonder and soliloquy at Bard on the Beach.
Photo credit – David Blue

Roe’s Tempest executes the most difficult of things in live theatre: balance. The play bounces between incredible design, action, and intrigue and the subtle and powerful monologues of the play’s centre: Prospero (Allan Morgan).

Indeed the isle was full of noises, sounds and sweet airs that gave delight and did not hurt (wink), but first we have to get there.

Relinquishing solitude and embracing the brave new world is a wise model for theatre goers who should take in the Tempest. Photo credit - David Blue

Relinquishing solitude and embracing the brave new world is a wise model for theatre goers who should take in the Tempest.
Photo credit – David Blue

The staging of the opening ship wreck was very clever, loud, and set the play perfectly as it destroyed the ship carrying the King of Naples and left him and his crew on the island inhabited by the exiled wizard, his naive daughter and a sprite name Ariel (no, not that Ariel. She’s a mermaid).

The balance between stylized action and solitary poetry is the Tempest at its best, and Roe does not miss an opportunity to exploit this juxtaposition (even if she spells her last name wrong. Shouldn’t it be R-O-W-E?).

Morgan is great as the aging Shakespeare getting ready to say goodbye to theatre. Er I mean Prospero saying goodbye to the island and his daughter. He is lucky (or unlucky depending on your style), as he gets a handful of the most famous of Shakespeare monologues. You can bet there were a few nights when a few theatre grads had copies of the text in hand and mouthed along to:

Our revels now are ended.

These our actors, as I fortold you, were all spirits and

are melted into air, into thin air.

Gotta love theatre grads. Wait a second. Most of the cast is theatre grads. Forget I said anything.

The only thing I can ask for is what Morgan was able to give me. Even though the lines were familiar and I knew they were coming they still had that sad melancholy of an artist hanging up his quill. He made them memorable and meaningful. It’s especially difficult to draw and audience in to that level of intimacy after some of the spectacle scenes that preceded and followed the lines.

And the spectacle can’t be understated. Roe’s Tempest is full of some really incredible design and style that added as much magic to the island as any Puck infested forest.

Speaking of whimsy and wonder, Ariel (Jennifer Lines) has a dramatic and powerful presence throughout the play. She pulls a little Galadriel out in one of the most impressive scenes of the whole production. Shivers.

Go see the play. You’ll get it.

Props has to also go to the Miranda (Lili Beaudoin) as Prospero’s naive daughter flitting around the island after love of her life (you know, the third guy she’s met in her life) Ferdinand (Daniel Doheny), while having her eyes opened to the brave new world (wink) that awaits her. Oh that world is a bunch of conniving, back-stabbing, flaky aristocrats Miranda. Sorry. Welcome to reality. Have a wonderful wedding.

Trincula (Luisa Jojic) and Stephana (Naomi Wright) threw me off a bit, but showed their quality in the end; just like Faramir. The jester and drunkard were great at playing off Caliban (Todd Thomson), and gave the audience a more than a few laughs even if they were of the ‘ha ha she’s drunk’ variety. For me, I could have taken a little less from the scenes, but, hey, who am I to criticize what everyone else is enjoying? More poop jokes!

Ariel pulls out a little Galadriel in the midst of the Tempest, no complaints here. Photo credit - David Blue

Ariel pulls out a little Galadriel in the midst of the Tempest, no complaints here.
Photo credit – David Blue

Sitting waiting for the play to start both myself and my brother noted the set. The design was perfect. Not too much, not too bare. The players worked their way through the set with ease, and were able to shine and wind their way through the design. The trap door was used sparingly and to great effect.

On a side note I would like to congratulate myself for not geeking out when I saw sound designer Alessandro Juliani walk by before the play. It’s hard to resist bringing it up, and insist on going over some of the decisions Felix Gaeta made in season four of Battlestar Galactica. He used to come into a restaurant I managed in Vancouver about seven years ago. Very nice guy. What a great show.

The Tempest is one of those plays Shakespeare theatre troupes can’t resist adding to the bill especially in the summer. The play can be very entertaining or mind-numbingly boring based on choices the director makes and the performances that accompany. Bard on the Beach pulled this one off not adding too many overly clever bits and adding just enough style for the wow factor. Props to the cast and crew.

Do yourself a favour if you’re in Vancouver between now and the end of September and check it out.

 

BB Rerun: King Richard II, Act I

17 Aug

(Podcast recorded and produced by Daniel J. Rowe, blog written and edited by Eric Jean)

Greetings Brawlers!

Those of you keeping up with our Twitter page will know that with summer (sadly) winding down, we’ve finally been able to gather the crew and record the next act of Richard II. However, the next episode isn’t going to be ready for a few days so in the mean time, we thought you might like a little refresher on what’s gone down for the first two acts of the play.

Here’s act I again, and we’ll repost act II in a few days so.

Enjoy!

Welcome Brawlers to the Bard Brawl’s tenth play! To celebrate our historic achievement, we bring you Shakespeare history play The Life and Death of Richard the Second. It’s also called Richard II.

Listen to or download the podcast, or better yet subscribe on iTunes.

We haven’t even started yet and you’re already confused, aren’t you? You’ve listened to our Henry VI part I podcasts and thought “I like that all these heads are rolling but I just wish I knew who they belonged to!”

I hear that.

Lucky for us, Shakespeare learned quite a bit about writing history plays between writing his first tetralogy (Henry VI parts I, II and III, and Richard III) and the second tetralogy (Richard II, Henry IV part 1 and II, and Henry V)

If you need a reminder about the chronology of the plays, check out the first part of introduction to Shakespeare’s history plays about the War of the Roses.

Here the short version though: first tetralogy was written first but describes events which happen at the end of the War of the Roses (ie: Peter Jackson’s Lord of the Rings). The second tetralogy was written later but the events take place at the start of the War of the Roses (The Hobbit).

Boom. Now you know everything.

Turns out that fewer characters, clear motivations for characters and a stronger plot arch combine to make a much better play. Don’t worry though, there’s still plenty of death and betrayal.

The play starts at King Richard’s court. Henry Bolingbroke (the Duke of Hereford) is accusing Thomas Mowbray (the Duke of Norfolk) of treason. Specifically, Bolingbroke accuses Mowbray of the murder of the Duke of Gloucester as well as stealing royal funds. The two men want to be allowed to settle the matter with a duel. They play a little ‘he said, she said’ and the king asks his uncle John of Gaunt (who is also Henry Bolingbroke’s father) to help calm everything down. When that fails, the King sets a date for a trial by combat, the only civilized way of putting an end to the finger-pointing and the name calling.

The Duchess of York is pleading with John of Gaunt to take a direct hand in avenging the death of Gloucester in scene 2. She’d like nothing more than for Gaunt to grab a buddy like Carl Weathers or Bryan Genesse and go Street Justice on Mowbray.

He tells the Duchess to forget the uncouth vigilante curb stomp. They’ll just have hope that Bolingbroke kills Mowbray for them.

So scene 3. We’re at the Coventry grounds which is the jousting a duelling field where the big trial by compact is about to take place. Henry Bolingbroke and Thomas Mowbray are all armoured up, on horseback, lances levelled at the opponent’s chest, ready to charge. The herald-ringside announcers introduce them, the intro music plays and the trumpet sounds the charge, this is it!

And then the king stops the fight and orders the fighters back to their corners.

Instead of a nice clear fight where this would be settled once and for all, one way or another, the king decides he’s just going to banish both of them. Seeing that he’s such a fair guy though and doesn’t want to play favourites (we know he’s fair because King Richard tells us, right?) he decides that he will banish Mowbray for life and Bolingbroke for 10 years. Of wait! Is that John of Gaunt I hear crying? No worries, let’s make it six years for Bolingbroke.

I’m sure everyone will agree that this is totally and completely fair and that no bad feelings whatsoever will ever come out of this.

As soon as Henry Bolingbroke leaves in scene 4, Richard starts thinking about how popular Henry is with the common people of England. He starts wondering if this is going to be a problem when Henry comes back in 6 years. (It will be.)

What do the King’s right hand men do?

Change the subject.

“Hey, remember all this fighting we need to do in Ireland? We might want to get started on that.” The king agrees with him but, seeing as he’s short on cash from throwing too many parties, he sets up an aggressive taxation scheme which I am sure will not at all make him more unpopular with the people of England.

Before they leave, however, Sir John Bushy arrives with an announcement that John of Gaunt is on his deathbed. Did someone say free money? Seeing as John of Gaunt is one of the richest men in England, King Richard “The Vulture” flies to Ely house, ready to scoop up his lands when he dies.

If you’re still having a hard time following along, here’s a list of the major characters which appear in this act:

  • King Richard II: The king of England and a cousin of Henry Bolingbroke. He’s got a reputation of spending money irresponsibly and trying to recoup the loses in taxes. Not a very popular guy with the people
  • John of Gaunt, Duke of Lancaster: One of the most popular nobles in England, he’s also stinking rich. He’s Henry Bolingbroke’s father and Richard II’s uncle.
  • Henry Bolingbroke (sometimes spelled Bullingbrook): He’s the son of John of Gaunt. He gets banished from England but when the King snatches his lands away from him, he comes back to England to take back what’s his. He will become Henry IV by the end of the play.
  • Thomas Mowbray: The Duke of Norfolk. He’s accused of treason by Bolingbroke and banished from England for life.

I wonder how Henry Bolingbroke will feel about the king taking his inheritance away from him like that?

And hey! Buy ‘Zounds! It’s the Bard Brawl’s first ever journal. You’ll never regret or forget it.brassknucklestshirt1.png

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