The Comedy of Errors with a Steampunk Twist, a Bard on the Beach miracle

13 Aug Logo
With Bard on the Beach in full swing during a sweltering Vancouver summer, Director Scott Bellis has taken Shakespeare’s The Comedy of Errors and given it the gears and gadgets of the Steampunk genre.
 I know what you’re thinking, “Steampunk? Was that not a thing a decade ago? I mean, how can you add to the genre when Will Smith’s Wild Wild West filled the cup full?”
Well said and I did think the same going into the main stage on Vancouver’s beautiful Vanier Park looking out over English Bay. How many times have we seen a kind of kitschy genre played out once too many much to the audience’s chagrin?
Comedy of Errors3

Photo credits – David Blue

Yet Scott Bellis and the Bard on the Beach cast delivered a delightfully entertaining performance using the Steampunk back drop to add colourful characters behind the scenes and flashy special effects right in the audience’s faces.

The widgets, levers and wire-rimmed glasses worked in and around Shakespearean forms of love, hate, jealousy, misdirection and slap stick found in his comedies.  The stage lighting tricks and quirky use of the monstrous Nurse, did nothing to take away from the fun of the mistaken identities and the foibles the followed.  It was not a nauseating ride through the planet’s core filled with distracting gooberfish  and the bigger fish that eat the gooberfish. It was a laugh fest coloured with smoke and lightening thanks to the design team including Pam Johnson (Scenery), Gerald King (Lighting), Malcolm Dow (Sound).
Comedy of Errors

Antipholus and Dromio take centre stage.

The play begins with the aging Egeon (Scott Bellis) from Syracuse thrown before the Duke of Ephesus and sentenced to death simply for being a Syracusian.  Sounds about right. Pleading for his life, Egeon tells his tragic tale of loss and how he came to be in Ephesus.  Many years ago on a voyage at sea a terrible storm separated Egeon from his wife and son leaving him with his other twin son and twin servant. Yep. All believable so far. Both children were called Antipholus and the servants Dromio and when Egeon’s remaining son left for Ephesus and failed to return, he has been on a decade long search for him.  The ever so generous Duke is moved by Egeon’s tale and grants a stay of execution granting him one day to come up with money for bail proving that all politicians are motivated by the promise of monetary reward (how can one not be cynical in these electoral times).

Comedy of Errors2

Antipholus berates his servant Dromio

Meanwhile across town, Antipholus of Syracuse (Ben Elliott) and his servant Dromio (Luisa Jojic) have come ashore unaware that they have stumbled upon the home town of their twin brothers Antipholus of Ephesus (Jay Hindle) and Dromio (Dawn Petten). In the ensuing confusion created by mistaken identity schtick that Shakespeare does so well, the antics of the Dromios and Antipholi drives the energy and comedy of the play right to the closing curtain.  Hats off to Elliott and Hindle as they are thrown this way and that and even more so to Jojic and Petten who were spectacular in making the horrors of slave ownership and abuse quite funny as they were slap sticked around the stage. Hmmm. Feels wrong.

Costume designer Mara Gottler deserves kudos for capturing the feel of Steampunk especially with the minor characters nefarious Dr. Pinch, the mysterious Abbess and the monstrous Nurse Poppy. The iron gears and twisting metal made for a darker backdrop to the play and added a mysterious element juxtaposing the comedic performances in the foreground. Gottler does well by taking the darker science fiction/fantasy look and decorating the characters with horned rimmed glasses, old aviator helmets and trench coats.
When mixed with the sights and sounds of the stage crew, Bard on the Beach delivers a production of The Comedy of Errors that is a unique and wild and fun and a show that demonstrates how this company continues to keep Shakespeare alive in Vancouver.

Bard on the Beach

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Repercussion Theatre’s Twelfth Night, Directed by Amanda Kelloc

20 Jul
Repercussion Theatre`s Twelfth Night

Repercussion Theatre`s Twelfth Night

Eric Jean

Sitting in Westmount park (with copies of Twelfth Night in-hand to follow along, of course), Brawlers Celeste Lee and Daniel J.Rowe wondered aloud if Repercussion Theatre’s new director Amanda Kelloc knew what she was doing when she chose to present Bard Brawl – Twelfth Night, Act I to V, a Christmas play (!), in the middle of Montreal heat wave.

Did she even know it was a Christmas play? Yeah, I’m sure she knows. She seems like a smart woman and she didn’t edit out Sir Toby Belch’s song in II.3. which starts, “[Sings] ‘O, the twelfth day of December.” She knows what she’s doing, and I think she’s pretty clever, too.

So how the hell does a Christmas play work for Midsummer weather?

Well, Twelfth Night is actually the name of a Christian holiday which corresponds to the 12 days following Christmas, ending on January 6th with the Feast of the Epiphany. And how do you celebrate Twelfth Night? You drink and eat a lot, make fun of your betters, and generally the social order gets turned upside down while everybody cuts loose. Like many Christian traditions that the Church would like to claim were wholly original, this one’s actually Roman.

Yep. The Romans had this thing called Saturnalia, which took place over several days in – you guessed it! – December! They even elected this King of the Saturnalia who could order people to make out with their boss, or to pirouette in Buckingham palace, or whatever.

It’s a good gig if you can get it.

(Little sidebar: Sir Toby’s song makes sense. Seems that there was a time when Twelfth Night started 13 days before Christmas and then ended on Christmas. Trust me.)

See how it makes sense now? It’s entirely in keeping with the spirit of misrule in Twelfth Night to turn Twelfth Night from a Christmas play into a Midsummer play.

And in that same spirit, we decided to stash our monogrammed copies of the Complete Works into our bags and just watch the show.

Now that this bit of business is done, what did I actually think of the play?

In contrast to last summer’s wild, over-the-top, gut-splitting history play mash-up Harry the King, Kelloc’s Twelfth Night is a much more traditional staging of Twelfth Night.

The whole play takes place on the same simple set representing Olivia’s garden where Sir Toby Belch, Andrew Aguecheek and Maria spy on Malvolio as he reads the letter he thinks is from Olivia and which will lead him to prance around on-stage wearing ridiculous cross-gartered yellow stockings.

And thank God. I’ve seen to many plays with spinning box sets that seems less about the drama and more like a platform for some set designer to show off just how many locations they can cram into a two hour play. Especially given the outdoor venue, I really appreciated that the set itself depicted an outdoor locale

The only set alteration – which not only makes a lot of sense but also recalls the trap door ‘pit’ built into Elizabethan playhouses – is a kind of barred dungeon window behind which Malvolio stands while everyone thinks he’s gone nuts.

A nice touch.

Performances were generally good, though those of the miscreant Belch and company by far eclipsed those of the play’s courtly characters like Orsino and Viola. In defence of Orsino and co., however, Shakespeare didn’t always give them a whole lot to work with in Twelfth Night.

The stand-out performances to me were Sir Toby Belch (Matthew Kabwe) and Malvolio (Paul Rainville).

Kabwe’s physicality and boundless energy really brought the character of Twelfth Night’s de facto Lord of Misrule to life. (Almost as good as our own Jay Reid, but I digress.)

The synergy between Belch and Aguecheek (Adam Capriolo) was excellent, as was the decision to represent Andrew Aguecheek as a kind of effeminate hipster poseur. Letitia Brooke‘s initially reluctant Maria fit right in with the two other pranksters.

Rainville’s Malvolio was equally memorable for his stern, quasi-Puritanical high-mindedness as well as his cocksure yellow-stocking prancing. As much as you wanted to hate Malvolio for being a killjoy, you really felt bad for him by the end of the play.

Viola (Emelia Hellman) as well was well-acted and well cast, though I felt that she did not stand out as much as Malvolio and Belch.

The character of Feste (Gitanjali Jain)was portrayed as a jack-of-all-trades entertainer: singer, musician, and acrobat. Jain accompanied herself on the guitar as she sang Feste’s many songs. While she sang and played well, and the live, acoustic musical performance lent an air of spontaneity to Feste’s fooling, I felt at times that the songs were just a little too long. Rather than feed the ribald energy of the scene, they sometimes took away from it.

To me, Olivia (Rachel Mutombo) seemed the weakest of the cast members. Olivia is a melancholy character, still in mourning over the death of her brother. However, none of this melancholy came through in her performance which was rather one-note.

Orsino (Mike Payette) delivered an honest performances though it was not particularly noteworthy. Jesse Nerenberg and Darragh Kilkenny-Mondoux, as Sebastian and Antonio, respectively, both did well in their supporting roles.

On the whole, Repercussion’s 2015 edition of Shakespeare in the Park is an enjoyable if relatively conservative staging of Twelfth Night. While not without its flaws, it nevertheless makes for an entertaining evening in the park. I recommend grabbing a blanket, a few drinks, and catching Twelfth Night while you have the chance.

Twelfth Night runs until July 26th. Click here to see locations and show times.


Act I, scene iii; Mad King.

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Let’s read a comic and kill us some Shakespeare

18 Jul Courtesy - IDW Publishing

Daniel J. Rowe

Sometimes, the title just makes you want to grab the book. I feel like there are few titles less tempting than IDW Publishing‘s comic series Kill Shakespeare.

I mean, dang, it’s called Kill Shakespeare!

Even the haters got to like that one.

I know for a fact, the true brawlers will like the series created and written by Conor McCreery and Anthony Del Col. We’ll wait for Eric’s review of the next four issues to find out for sure, but I’d put smart money on him liking it. We’re going to break the series down by issues of four, and we’re reading out of the slick “Backstage Edition,” which is a finely packaged piece in itself.

Props to the art by Andy Belanger, and the covers by Kagan McLeod.

Issue one: A Sea of Troubles

Courtesy - IDW Publishing

Courtesy – IDW Publishing

“Whether ’tis nobler in the mind to suffer

The slings and arrows of outrageous fortune,

Or to take arms against a sea of troubles,

and by opposing end them.”

– Hamlet, III,i

In issue one we’re introduced to the Shadow King, Hamlet (naturally), who is shipwrecked and washes up on the shore of Richard III’s kingdom that he rules with MacBeth (well, more like Lady MacBeth). I’m going to try to stay away from plot points, as I would rather not ruin the joy of getting introduced to the various Shakespearean characters in new and fun ways. And, no, I’m not talking about them being cast as steam punk robots or high school sweethearts. (Not that there’s anything wrong with that).

The series starts well. There’s a shipwreck, a ghost, good art (the panels with the swords coming out of the water are great), comic-style voice over, pirates, mystery and magic.

The first issue gets you hooked in, and a classic line to end. It establishes that these are Shakespearean characters, but this is a different world.

The idea of Hamlet having to kill Shakespeare to bring his father back to life is a nice touch.

Bonus about the backstage edition: there are character and line descriptors at the end of each issue giving those without an encyclopedic knowledge of characters a taste of the original text.

Characters introduced: Hamlet, Rosencrantz & Guildenstern, Richard III, the Witches, Lady Macbeth

Issue two: Something Wicked This Way Comes

Courtesy - IDW Publishing

Courtesy – IDW Publishing

“By the pricking of my thumbs

Something wicked this way comes”

– Macbeth, IV,i

Enter Ratcliff, and others, as well, as new locales, new intrigue and more about this civil war between RIII and Juliet. Tell me I just didn’t sell you on that last sentence. What’s nice about the series is that characters come into play in different ways. Sometimes, they just show up, and sometimes they’re alluded to previously.

Iago shows up, and is very well written. We all know he’s evil, but we only know that because we’ve seen Othello. What if he’s part of a story that includes other cruel and conniving characters like R III and Lady Macbeth? How does he fit?

Read a find out.

Also, we have the introductions of the “prodigals of Shakespeare” adding a lovely touch of superstitious masses mixed with nerds that obviously really love the bard. Hmmm. Do I know any of those types?

The writers do a clever thing where they add Shakespearean lines or scenes into different situations. Richard III does his best Cornwall impression and takes some poor guy’s eyes out, while Iago ironically delivers the gem, “keep up your bright swords… or blood shall rust them” riffing on my favourite of Othello’s catchphrases.

Characters added: Ratcliffe, Iago, Falstaff (naturally), Tamora, Angelo, and Hastings.

Issue three: The Fool Doth Think He is Wise

Courtesy - IDW Publishing

Courtesy – IDW Publishing

“The fool doth think he is wise, but the wis man knows himself to be a fool,”

– As You Like It, V,i

Alright nerds. Get ready for some boobs. It’s a sad fact about comic books that they focus particular attention to the vivacious curves of the well-endowed, and Kill Shakespeare is, unfortunately, no exception.

Yes, I like boobs like the best of them, but I mean come on. Every female character in a comic book does not have to have huge knockers no matter if they are the Merry Wives of Windsor or Lady MacBeth.

Ok. Rant done. Feminist inside of me argued for.

The Fallstaff/Hamlet scenes that take up a few pages in this issue are very fun, and one of those great ‘what ifs’ of Shakespeare. What if Fallstaff’s bombast was paired with Hamlet’s melancholy. A great what if answered in issue three. Also, what if Richard III and Macbeth were sitting at a table together? Answered.

Puck (Robin Goodfellow) shows up and his design is great. This is what makes comics fun: no reliance on human actors.

I should give a belated shoutout to colourist Ian Herring. His work stands out in the comic series.

And, dang, if Connor McCreery and Anthony Del Col go right into Poe-land, where Christopher Moore did in The Serpent of Venice. It’s a killer ending, and I won’t ruin it. I will, however, point out that Moore’s book came first. I’m not saying the idea was stolen, or that it doesn’t work every time, but still…


Characters added: Macbeth, Puck, Titus (referenced), Olivia


Issue Four: So Wise, So Young, Never Do Live Long

Courtesy - IDW Publishing

Courtesy – IDW Publishing

“So wise so young, they say, do never live long,”

– Richard III,i

Great first page. Well drawn, well coloured and well executed.

Nothing makes a comic hum like a great first page.

The continuation of cross-dressing from issue three is a nice add to the story, as you can’t have Shakespeare without a little Gender Bending. Hey ho. Have you bought your copy of ‘Zounds! yet? I don’t know why I just thought of that. Hmmmmm. Click here.

Again, the writers are careful to hold characters back, so that we get humdingers like in issue four when probably the best ‘what if’ turns up when Juliet is paired with Othello. Yes! Can’t say I don’t dig that. Oh, and see how Juliet is designed? More of that.

Also, the weaselly Parolles is a great addition, as is Nerissa.

This is the first look at the other side of the civil war (although I feel like there may be more than just two sides). Much of the issue is build up with a very well-done payoff in the end. The close ups of Othello and Don John are nice, and when Othello lays eyes on Iago, even better. It’s an amazingly designed page with all the passion and emotion one would expect from the two if they were to see each other after the play Othello is finished.

There’s a reason why Othello is one of the Bard Brawl’s favourites. The characters from that play always add a huge chunk of amazing.

Characters added: Juliet, Othello, Parolles, Nerissa, Robert Shallow, Don John

Come back next time when Eric continues with issues five through eight of Kill Shakespeare.

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A time when whistling dance routines and blackface meet the bard

27 Jun artoff1702

Daniel J. Rowe

Whistling, snapping, switchblade fights, pastel sweaters, slacks, gelled hair, soda pop shops, black faced Puerto Ricans and a bunch of teenage thugs singing. Yep. We must be talking about the most famous adaptation of William Shakespeare’s Romeo and Juliet: West Side Story (insert whistle riff).

Jerome Robbins and Robert Wise’s 1961 film version of the musical is full of colour (Technicolor even), long panning shots, clean and arm-swingy choreography, bright blue eyes, and everyone’s favourite feature of 60s era film with racially specific characters: face paint.

No, not this face paint.

It’s the kind of makeup choice that just makes you want to ask, ‘why oh why didn’t you just hire an actual Puerto Rican actor?’

So it goes. It was 1961. It won the Academy Award for Best Picture.

Face paint aside, we brawlers have to ask: is West Side Story a well done adaptation of Shakespeare’s most misunderstood love story? That being done, you have have to ask if this movie is very good, and if it is something that sustains the test of time.

Does it?

It is actually a very fun movie, and the directors are clever with their choices of shots, colours, characters, sets and style. The deep zooms, pans, close ups, and trick where one character is in focus while everything else is blurry are all very nice. The movie is colourful and crisp and clean and always nice to look at.

Now, if you do not like musicals, you will not like this movie. I go through times where I really don’t like the Leonard Bernstein scores, and then I hear a tune in the car on the radio, and can’t help but turn it up. In the end, I think I will submit, suck it up, and say that I do like the songs.

The acting is overall pretty good. Richard Beymer (Tony) is the… Wait a second. Is that Benjamin Horn from Twin Peaks? Yes it is. And is Riff Dr. Lawrence Jacoby? Indeed he is.

Allow me to indulge for a second.

Man that show’s fun.

I wonder if Shakespeare would like Twin Peaks? I wonder if he would like West Side Story?

I want to say yes and maybe.

The thing that hurts the musical is the romantic and idealized love story – that is in R&J – with no hints at the irresponsibility of the teenaged characters. As discussed in some legendary Bard Brawl podcasts, Romeo and Juliet is full of lines and situations that suggest the romance is nothing but an irresponsible romp by two hearts that are bigger than brains of teens who fall hard and fast with tragic consequences.

Ok. Rant done.

I will say those Tony – Maria songs are borderline unwatchable. You know that’s not even Benjamin Horne singing? Weird. It hurts me to say that Maria (the lovely and late Natalie Wood) is my least favourite pieces to the film.

As for the rest of the ladies, I d0 like Anita (Rita Morena). Hey! An actual Puerto Rican! And if you’re asking if that’s Sister Peter Marie Reimondo from Oz, you are correct. I wonder if Shakespeare would like Oz. I have to say a definitive yes on that one. Tobias Beecher. Classic Shakespearean character if I’ve seen one.

One more thing.

How the H did George Chakiris (who’s Greek by the way) win the Best Supporting Actor oscar over George C. Scott and Jackie Gleason in the Hustler? I don’t want to say Bernardo deserved that knife in the gut, but come on! Never trust awards shows.

Now was this a good adaptation? I’m going to go with a reserved yes. Is is a good film? yes. Does it hold up over time? Reserved yes.

In the end, there are problems with West Side Story. But I can’t say I hate it. I appreciate the adaptation of Shakespeare in such an interesting way, but wish it were a touch tougher.

Oh, and there’s no way people should be playing basketball in jeans!

Stay in Touch Brawlers!

Act I, scene iii; Mad King.

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A lesson on bard basics courtesy of Muse of Fire

26 May MV5BMTM0NDE3NjUyMl5BMl5BanBnXkFtZTcwNTQ5NDk4Nw@@._V1_SX214_AL_

Daniel J. Rowe

Two dudes self-fund a documentary to discover one thing:

Why are people scared of Shakespeare?

“Because it’s hard to read,” says one girl in that sing songy teenage voice we all love so much. Yes. Shakespeare’s hard.

Muse of Fire stars actors Dan Poole and Giles Terera, who really, really want you to know that they’re a) actors and b) like Shakespeare. I think. At least they’re interested in Shakespeare.

The two grew up in the 80s “watching Star Wars, Indiana Jones and Batman and Robin.” Wait a second. Batman and Robin? The only Batman I can think of from the 80s was Michael Keaton’s in 1989, and there was sure as shit no Robin in that one. Oh well. I get what they’re saying.

Muse of Fire is pretty good. Kind of like a poor man’s Looking for Richard. It’s funny and explores why Shakespeare is so unapproachable and taught so horribly so often. It also gives a nice glimpse of why the bard is so great. I.E. when Gandalf reads Romeo and Juliet. Now that’s a pleasure to any of the senses.

It’s a perfect for secondary school students. Find a copy, show it and sit back and enjoy teachers of English. The show will do your work for you.

*If you click this link, you can watch the full interviews with those found in the film.

The two actors start with “the good, the bard and the ugly,” and trot around asking actors of varying levels of prestige why the language is so difficult. Almost all of them from Ewan McGregor to the guy who plays Gareth in the Office to Gandalf, errr, I mean Magneto, sorry, I mean Sir Ian McKellan say that Shakespearean language is hard, but you just have to do it; more or less.

Almost all the interviewees recall horror stories of being taught Shakespeare in school and hating it, but, later in life when they’re all grown up, can appreciate it. I think most people can appreciate that sentiment.

Then there are these kids at Shakespeare camp (where the Hamlet was Shakespeare camp when I was a kid?!) who are acting it out, and seem to be having real fun. See. Even kids like it.

The best part of Muse of Fire are the interviewees and there are a lot of them. Dame Judi Dench is a particularly incredible interview, as are the ones mentioned above.

The two dudes then set off for Denmark to catch Jude Law in Hamlet.

Hamlet, in Denmark with Jude Law?! Very jealous.

Law’s interview is predictably great, and he says one line that touched this brawler’s heart very fondly.

“In the end, you just have to say it,” says Law.

Yes you do. Welcome to the Bard Brawl Mr. Law. We’ll see you next week.

“It’s so rich. You have no chance to think that you can get everything every night in the language, but what you can get is a sense of journey emotionally through that scale of writing,” he goes on.

Law talks about Hamlet shifting depending on the actor, time, audience and any other number of variables. Amazing. This is why those, ‘this is how Shakespeare wanted it’ types are a tad bothersome and always produce the show in “period” English. Oh, and those types are always a treat to have in class with you.

“Your responsibility is to that audience and to that production, not 400 years of incredible actors who have played him before,” Law says.

Well said.

Much like Pacino’s documentary, the filmmakers take a jaunt into the wonderful world of the iambic pentameter that, if you didn’t know what it was already, probably skipped a few classes in high school or were at the back of the class working on your fantasy football team. It’s just one of those things you should all know.

iambic pentameter


a common meter in poetry consisting of an unrhymed line with five feet oraccents, each foot containing an unaccented syllable and an accentedsyllable

Word Origin

French iambique ‘of a foot or verse’ and Greek pentameter ‘measure offive’

Oh, and just like in Pacino’s film, they put a team of actors together to go through some of the language.

And, just like Pacino, the people on the film give the Duh-dum, duh-dum, duh-dum, duh-dum, duh-dum explanation of the term.

Hmmm, seems like they might want to have mentioned the Pacino film maybe once. I’ll help you out boys: Looking for Richard.

Throughout the documentary, the two actors love shooting themselves doing their “everyday things,” which is less interesting that the subject at hand.

No one cares how struggling actors spend their days boys. Move it along.

Then there’s the Wizard of Baz part…

Now, Baz Luhrmann’s Romeo + Juliet is a lot of fun, and a great gateway production to get kids into the bard, but the weird scene of Poole and Terara fawning over the DVD copy in the bookstore is kind of odd. They interview Luhrmann which is fine, but we already saw interviews with Gandalf, Jude Law, Judi Dench, Obi-Wan Kenobi and a bunch of other amazing people, so the director of Strictly Ballroom is less than it could be. Does he really have more to add than Alan Cumming (an interview the filmmakers barely used by the way)?

I shouldn’t be harsh though. Muse of Fire is fun, and nice at moments, and, like stated, is perfect for a classroom.

It’s always fun to see the greats talk about what the bard means to them, and even better when they read the words.

That, and the Bard Brawl would gladly welcome the budding actors into our ranks should they choose to join and give their thoughts.

Stay in Touch Brawlers!


Act I, scene iii; Mad King.

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BB: Titus Andronicus, Act IV

22 May

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

Welcome back Brawlers to the Rrated slasher film that is Titus Andronicus! This week? Act IV. Because that’s the act that comes after III.

Listen to or download the podcast.

Before we get started though, big congratulations to Bard Brawler Niki Lambros who got to walk across the stage in hooded medieval monk wear to pick up her shiny new Masters diploma!

Here she is looking great and about to make her hasty getaway to meat and booze!

Niki Graduation

Bard Brawler co-captain Eric Jean (why, that’s me!) was also invited to show but went to work instead and skipped right to the drinking afterwards.

See? Niki and I are both on the same list!

masters grad

(Feel free to keep calling me the Master of the English Renaissance, Daniel but remember to capitalise that ‘M’ now.)

Alright. So act IV.

You’d think Shakespeare is running out of people to kill, rape and/or mutilate but don’t worry! The fun’s not about to stop now. (Although – and I’m just throwing this out there, Bill – maybe it should. Just a thought.)

Remember Lavinia? Right. She’s got no hands and her tongue was cut out so she couldn’t rat out her rapists, Chiron and Demetrius. Lavinia pointing to a copy of Ovid’s rape-filled Metamorphoses though finally gave someone the bright idea that she might be able to write that out in the dirt by holding a stick in her mouth and guiding it with her arms.

Now that they know who to kill, it’s time for some revenge!

In scene 2 Titus sends Young Lucius over to Demetrius and Chiron to deliver some weapons with a note in Latin. They don’t really get the message but Aaron does and realises that Titus is on to them. Before they can do anything though they hear trumpets sounding which means that Tamora just gave birth to what was supposed to be Saturninus’ son.

Good for him. Except that the nurse rushes in and the kid’s black, which is a bit of a problem for Aaron.

No worries though because Tamora figures they can just kill the baby and then all’s good. Aaron agrees but as soon as he has the kid he decides he’s not going through with it. Instead, he’s going to replace the baby with some other Goth couple’s white baby while they raise his black baby.

Then he kills the nurse so she can’t say anything about it.

Smart. He clearly has everything under control.

Meanwhile, Titus and his allies meet with Marcus and Lucius who fled from Rome and are back now with a sweet Goth army who are mad as hell! They decide that they’ll literally send Saturninus a message by shooting a bunch of arrows with messages from the gods right into the court.

And then, as all great conspirators have done since time immemorial, they recruit a passing clown with a few pigeons to deliver the final message of ‘We’re coming for your ass!’ right to the Emperor for them.

So they of course kill the messenger. Greedy clowns just can’t catch a break, I guess.

It’s just at this moment that a messenger shows up to tell them that a giant Goth army is about to kill Rome and that it’s being led by Titus’ son Lucius who’s crazy popular in Rome. Saturninus starts panicking but Tamora has a cunning plan: she’ll talk Titus down and then he’ll talk Lucius down.

Guess no one bothered to tell her that Titus knows that she helped her sons rape his daughter.

I’m sure he’ll be reasonable.

Stay tuned for the dramatic conclusion! My gut (and the fact that I’ve read this before) tells me that this act V might be particularly delectable.

Also, welcome back to the pod legendary sonneteer and LA Kings fan Zoey Baldwin with sonnet 56!

Act I, scene iii; Mad King.

Check out the amazing writers and artists in ‘Zounds! 

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The Mad King is here

15 May madking

Without further ado, we at the Bard Brawl bring you:

‘Zounds! Act I,scene iii – Mad King

(trumpets, flourish, colours, dogs barking)

Thank you to everyone who came out to the event at Brutopia Brewpub in Montreal last night. T’was a rad night of trivia and all around revelry.

Pick up a copy by clicking the button below or by contacting us if you are in the Montreal area via our Facebook page or at


Click the button and let 'Zounds! be yours.

Click the button and let ‘Zounds! be yours.

Featuring the work of: James Olwell, Charis Amy, Laura MacDonald, Celeste LeeRachelle Hecht, Niki LambrosJesse Cardin, Leigh MacraeJenny DorozioRyan Buynak, Stephanie E.M. Coleman, Johnna Montour, Andre Simoneau and Mya Gosling.

'Zounds! Act I, scene iii; Mad King.

‘Zounds! Act I, scene iii; Mad King.

Edited by Daniel J. Rowe and Eric Jean.

Layout design by Stephanie E.M. Coleman

*Please allow two to four weeks for delivery.

Sorry Bill I just Don’t Get It!

11 May Troy Clements

Troy Clements

So I’m not sure about you guys but Shakespeare is F ing hard to understand right?! I mean I just can’t seem to get my head around some of it. Especially if you are a fella coming from the maritime provinces where ya got lots of different kinds of fish spears but no Shakespeares unless you’re just trying to get the fish off your spear. I suppose you could call that shake spear?

I mean com’on, did people really talk like this??

A man may, if he were of a fearful heart,
stagger in this attempt; for here we have no temple
but the wood, no assembly but horn-beasts. But what
though? Courage! As horns are odious, they are
necessary. It is said, ‘many a man knows no end of
his goods:’ right; many a man has good horns, and
knows no end of them. Well, that is the dowry of
his wife; ‘tis none of his own getting. Horns?
Even so. Poor men alone? No, no; the noblest deer
hath them as huge as the rascal. Is the single man
therefore blessed? No: as a walled town is more
worthier than a village, so is the forehead of a
married man more honourable than the bare brow of a
bachelor; and by how much defence is better than no
skill, by so much is a horn more precious than to want.

– As You Like It, Act3, Scene 3

Haha ahh insert WTF emoticon here…I mean, Christ, feels like I’m talking to Steven Hawking about the origin of the universe. Isn’t this stuff supposed to be about like love, lust and other normal people shit?

I mean I get it. Everybody likes to show off and use “smart words” but cut us some slack Bill: either ease back on the drugs or come down off your pedestal and drop the “smart words.”

We get it, you talk good!

So if you feel the same way as I do, but still wanna get to the most outta Shakespeare… fuck it, just cheat!

I found a simple audio book app that has many Shakespeare ditties.

There are a few that break down entire plays in 15min, written in a way even children can understand. Well, to be honest, its still a little complicated at times as it was written for children who lived in the early 1900’s…I guess kids were smarter then? Makes me wonder what happened to the baby boomers?

What did I learn from ole Nesbit’s approach that I didn’t learn from Eric Jean you ask?  An example would be from Two Gentleman of Verona, a play of platonic love and fidelity where the character Speed – who I really enjoy – says,

O jest unseen, inscrutable, invisible,
As a nose on a man’s face, or a weathercock on a steeple!
My master sues to her, and she hath
taught her suitor,
He being her pupil, to become her tutor.
O excellent device! was there ever heard a better,
That my master, being scribe, to himself should write
the letter?

Two Gentlemen of Verona, Act 2, Scene 1

This scene is about Silvia asking Valentine to write a sort of love letter to a friend of hers cause she doesn’t have time to do it herself.  But in truth she wants Valentine to actually write the letter to her…(big communication issues if you ask me).  Valentine, who is smitten with love and not thinking clearly, doesn’t pick up on her obvious nuances and writes some half-ass letter that falls short and Silvia kinda gets pissed off.  When Silvia leaves the room Speed pipes up, poking fun at Valentine, pointing out that she clearly wanted him to write the letter to her.

Nesbit doesn’t really explain the entire scene but does bring Speed’s lines down to earth a bit.  She references the weathercock on a steeple jab, meaning that its very obvious as to what Silvia is up too.  This is what made things clearer for me, allowing for the entire scene to make sense.

Anyway…if you are looking for the easy way out check out the app Audiobooks and download Edith Nesbit’s Beautiful Stories from Shakespeare  (or buy the real, live printed book form. Remember those?) and if you still don’t understand…well, blame your parents.

BB: Titus Andronicus, Act III

9 May
Dad cuts off son's hand? Titus will cut off his own hand instead, thank you very much.

Dad cuts off son’s hand? Titus will cut off his own hand instead, thank you very much.

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

Welcome back Brawlers to the Bard Brawl! Apologies for the delay but we had some technical difficulties with scene 2 of our recording. It got cut off, just like Lavinia’s tongue and hands, and just like (spoiler) Titus’s right hand.

In the end, we wrangled up some designated hitters and powered on through to bring you act III of Titus Andronicus!

Listen to or download the podcast.

So act II happened.

Lavinia was raped and mutilated, Titus’s lemming sons Martius and Quintus have been framed by Aaron the Moor for it, and now Titus is begging the tribunes and senators not to put them both to death.

He’s begging his little heart out but they just pass him by and ignore him. He keeps pleading until his son Lucius shows up and points out that he’s standing on the street alone and no one’s there to here him beg for his sons’ lives. It’s not looking great.

Also, bad news: Lucius tried to rescue his brothers so now he’s been banished from Rome. More bad news: Titus sees Lavinia for the first time since Chiron and Demetrius raped her.

Thing’s aren’t exactly looking up for Titus but then Aaron shows up and tells Titus that if either Lucius, Marcus or Titus chops off their hand and sends it to the Emperor, that he’ll spare Titus’ sons.

Good deal, right?

The three of them argue about whose hand should be cut off but then Titus sends Lucius and Marcus off to get an axe to do the chopping and while they’re away, Titus has Aaron cut off his hand.

Why did Lucius and Marcus run off to get an axe? What the hell did Aaron use to cut off Titus’ hand? Come on, Shakespeare. You’re better than this!


Lucius and Marcus come back and Aaron runs off to deliver the hand. And then a few minutes later, a messenger arrives carrying the heads of Martius and Quintus. Oh, and Titus’ bloody hand.

That didn’t go so well. Maybe cutting off your own hand wasn’t the smartest move, dude. Kind of like stabbing your son to death was not too bright.

Well, since Titus pretty much has nothing left to lose, it looks like it’s time for some epic level revenge!

For starters, Lucius flees Rome and plans to recruit an army of Goths to overthrow Saturninus and Tamora. (Not sure why they would want to join the fight with the son of the guy who stomped them into the ground and stole their queen from them, though. Guess when someone offers you a chance to sack Rome, you take it.)

Meanwhile, in scene II, Titus and Marcus plan out how to kill Aaron. Actually, Marcus mostly tries to do that while Titus spends a lot of time whining. Then Marcus kills a fly, a black fly (get it?), and it’s as if the idea of killing Aaron occurs to Titus for the first time.

Heck, if between the two of them they can kill one fly, then for sure they can take on the Emperor, Tamora, Aaron and their cronies. Makes perfect sense.

But before that vengeance goes down, time for dad to read depressing stories to his daughter in a closet, while young Lucius watches.

Yeah. that’s not creepy.

Stay tuned for the next scene, where I’m going to assume some more people die.

Also, welcome back to the pod the Bard Brawl’s original sonneteer Maya Pankalla with sonnet 63!


'Zounds!, Act I, ii

‘Zounds!, Act I, ii



Check out the rest of the amazing writers and artists in ‘Zounds! 

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A certain kind of madness

3 Apr Photo credit - Trudie Lee

Theatre Calgary’s production of King Lear was a good crazy.

Jennifer Dorozio

Flashes of lightening crack, thunder roars and a stumbling madman emerges from the backdrop.

His shirt is un-tucked, his hair is full of static but, most telling, is the wild spark that fills his eyes, and the angry pitch with which he yells heavenward.

So enters the mad King Lear to the bittersweet pleasure of a rapt Calgary theatre audience. What the actor, Benedict Campbell, has successfully done, is to make you want to admonish the foolish king, and give him a comforting pat on the shoulder at the same time.

The scene described is the first we see after the intermission of Theatre Calgary’s production of King Lear, directed by Dennis Garnhum which runs from March 10 until April 12.

Where the first half is full on Shakespearean plotting, dialogue and pensive monologues, the second is pure action and includes gouged eyeballs, a ranting half naked madman, and assorted “deserved” and “undeserved” deaths.

Photo credit - Trudie Lee

Photo credit – Trudie Lee

King Lear is one of the “famous” Shakespeare plays, which brings to life the tale of a King of Britain’s descent into madness, and then his journey out of it, which ends in tragedy, great loss and ultimately his death.

Intrigue abounds as brothers clash, and sisters with sharp tongues and nasty streaks are backed into corners as Lear’s kingdom is divvied up among the royal family.

The play centres on Lear and his three daughters, Goneril (Colleen Wheeler), Regan (Jennifer Lines) and Cordelia (Andrea Rankin). The aged king loves his youngest the best (hey! I’m the youngest and best too), and this leads to complications, especially after his own self-serving game of ‘how much do you love me?’ causes him to banish Cordelia. The vultures in the royal family, who try to wrest away power from his feeble hands, then betray the proud Lear.

Which of you shall we say doth love us most?
That we our largest bounty may extend,

Lear, I,i

The characters themselves feature some quirky and brooding additions in their mix. One in particular stands out among the rest: the fool, who is King Lear’s Court Jester, played by Bard on the Beach regular Scott Bellis.

*Garnhum’s Lear will follow at Bard on the Beach’s summer playbill.

The fool, imbues some much-needed levity into the first act. Wearing a coxcomb on his head, he spends a majority of his stage time leaping from place to place. Curiously, his mad interpretation of Lear’s confused reality does lend a bizarre sort of clarity to the king’s situation.

This is exemplified when the fool eerily jests to King Lear, “This cold night will turn us all to fools and madmen,” foreshadowing all the cacophonous events to come.

Heartbreaking is the excellent performance of the Earl of Gloucester, played by David Marr, who is the play’s one paternal character you can’t help but feel badly for as misfortune after misfortune befalls him.

Then there’s the scene that sticks out because of its unnecessary gore. Gloucester’s eyeballs are in stomach-churning fashion carved out his head and at one point even trodden upon. It did little to add to the production other then induce cringes and distraction at all the fake blood for a full two minutes afterward.

Lest it see more, prevent it. Out, vile jelly!
Where is thy lustre now?

Cornwall, III, vii

Michael Blake performance of Edmund, the crafty bastard son of the Gloucester, is charmingly sinister. He plots for revenge by promoting multiple sibling entanglements making him both convincing as a villain, and likable.

While actor Andrea Rankin, as the young Cordelia, does play the doe-eyed daughter well, there is something a little grating about her over the top sweetness that came off as insincerity near the end. It seemed as though her tone and countenance changed little whether responding to a marriage proposal or being angry at her father’s mistreatment.

The Shakespearean world of King Lear, so artfully woven by the troupe of Theatre Calgary actors, doesn’t seem very far off from our own world, which is perhaps why the play still feels so relevant. These themes of undying devotion, betrayal and greed still saturate news media, television and movies because they are reflections of human reality and frailty.

Getting through the more slow-paced first half is well worth the wait. The explosion of passion, blood and revenge in the second half leaves you completely sated in a way only an excellent acting troupe and script can do.

Here’s a scene.


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