BB: Romeo and Juliet, Act II

Artwork - Stephanie E.M. Coleman
Artwork – Stephanie E.M. Coleman

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

Welcome back to the Bard Brawl and act II of Romeo and Juliet. I hope your Valentine’s Day story worked out a little better than theirs. Although, really, I guess they did have a pretty bangin’ first date.

Listen to or download the podcast.

Like the first act, act II opens up with a Prologue. Don’t remember this prologue? That’s probably because no one stages it. And why would you? You just finished this blockbuster first act of death threats and teenage lovemaking and Shakespeare wants you to stop to listen to someone tell you about how they need to figure out a way to meet in secret.

Yeah, we figured that since their two families are at war, they might not be so keen to announce they started dating. Thankfully, Shakespeare seems to figure this out because that’s the last of the prologues for this play.

Mercutio and Benvolio spot Romeo sneaking out of Juliet’s house in scene 1 but they must not have realised who’s bedroom he’s sneaking off to because Mercutio tries to get his attention by invoking his ‘love,’ Rosaline. You’d almost get the impression this wasn’t the first time they spotted him sneaking into some girl’s bedroom in the middle of the night. Romeo clearly doesn’t want to be found out and they would much rather make fun of him behind his back so after doing that for a minute or two, they head home to bed.

So here’s the set-up for act II, scene 2, one of the most famous (and totally made up) love scenes in the world:

Having sneaked into the Capulet orchard by jumping the fence, Romeo makes his way to Juliet’s window, which is a little unsettling because he seems to know exactly where that is despite the fact that she lives in a huge estate. While he’s hiding in the bushes (trying to catch a glimpse of her undressing) Juliet walks out onto the balcony. Romeo goes on and on like he’s a hockey announcer providing some sort of play by play for some imagined audience.

Juliet, like Romeo, seems to have a habit of speaking her thoughts aloud which, in this case, happens to work in her favour because Romeo hears her and announces his presence. She’s a little creeped out that he’s here at first but after some blah blah back and forth they agree that the best course of action – and the thing they most want in the world – is to get married.

Tomorrow.

No problem. Romeo tells her to get in touch by 9am and he’ll have worked out a plan.

At the start of scene 3, Friar Laurence is quietly pruning his plants when Romeo barges in, out of breath and babbling on about how he’s in love and that he needs the Friar’s help. The friar’s a little surprised that Romeo so quickly forgot Rosaline, his one true love, and now wants to marry Juliet. He doesn’t seem to have much faith in Romeo’s constancy but he agrees to marry them only because he thinks that this might put an end to the Montague and Capulet feud.

Wait, what? Does he even realize what he’s saying? When has two people marrying ever made warring in-laws kiss and make up? Maybe it will work out this one and only time though.

Romeo’s friends Mercutio and Benvolio as hanging out in the street making fun of Romeo (again) and Tybalt when Romeo runs into them in scene 4. They mock him for ditching them last night and make a bunch of jokes involving penises such as: “then is my pump well flowered.” Juliet’s nurse arrives to meet with Romeo where they discuss the plan to sneak Juliet out of her house: she just needs to tell her folks that she’s stepping out for a quick confession at father Laurence’s. The Elizabethan equivalent of “I’m going to the library to study.” No mother or father would ever doubt that excuse. Brilliant!

Meanwhile, Juliet’s been waiting impatiently for her nurse (who is starting to come off as more of a pimp, really) to come back with news from Romeo. Back and forth between the two of them which seems designed to torture poor Juliet but eventually the nurse spills the beans: head to Friar Laurence’s place where he’ll marry you and you’ll finally get to have sex! And then you’ll get pregnant which is exactly what every 13-year-old wants, right?

In the final scene, Romeo is waiting for Juliet to show up. Friar Laurence tries to get him to chill out a bit, to slow this love train down a little, but when he sees Juliet, he seems ready to get on it himself. (He also wins the creepiest line of the play award for this gem: “Romeo shall thank thee, daughter, for us both.”)

Off they go to get married in secret, like two totally responsible adults who have carefully weighed the pros and cons of their decision and are in no way whatsoever rushing into the mistake of a lifetime.

Can we expect a honeymoon scene in act 3? I sure hope so!

And hey. Buy ‘Zounds! You’ll never regret or forget it.

Enjoy sonnet 43 by the legend, David Kandestin.

Artwork - Stephanie E.M. Coleman
Artwork – Stephanie E.M. Coleman

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!

← Back

Thank you for your response. ✨

BB: Romeo and Juliet, Act I

You'll have to wait for Bar Scrawler art - they're busy with 'Zounds! right now.
You’ll have to wait for Bar Scrawler art – they’re busy with ‘Zounds! right now.

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

This is one of the big ones, Brawlers: Romeo and Juliet.

Listen to or download the podcast.

Ah, good ol’ “R&J.”

You think you know this play because you read it in Mrs. MacDonald’s grade nine English class and had to write a 500 word essay on ‘why do we have to read Shakespeare.’ You wrote something like:

“We have to read Romeo and Juliet because it’s the greatest love story every written. […] It shows us how my parents are ruining my life with TJ/Cindi because they hate my boyfriend/girlfriend. They should just accept that we are in love and will spend the rest of our lives together living in their basement.”

The end.

After a week and a half of torturing (and being tortured by) the Shakespearean language about ‘Prince of Cats,’ ‘Queen Mab,’ ‘plagues on households’ and ‘purple fountains,” Mrs. MacDonald – because she just wants her suffering to end – gave you your ‘A’ and you moved on to Catcher in the Rye.

But admit it. Deep down, you feel ridiculous for writing those words. I mean, you were 14 or 15 years old. Of course you were naive and stupid. Just like a certain Juliet (almost 14 years old) or a certain Romeo (15 years old) everybody thinks they know. The only decision I could be trusted to make when I was that age was which Nintendo game to rent with my allowance money.

Try this synopsis instead, Mrs. MacDonald: two teenagers with more sexuality than sense are married in secret (and sacrificed on the altar) in order to try to put a stop to the constant feuds and vendettas of the Montagues and Capulets which have been tearing Verona apart for who knows how long. They die, feud ends, mission accomplished.

Don’t believe it? Too cynical? Well, let’s have a look.

Romeo and Juliet opens with a Prologue which tells us that isn’t going to end well. Two kids born from feuding families are going to need to die on order to put the feud to rest. Additional information provided: this play will last approximately 2 hours.

In scene one, Sampson and Gregory, two Capulets, are wandering the streets looking to pick a fight. They spot Abraham and Balthazar, two Montagues, and decide to start swapping insults. Eventually they draw swords but Benvolio (a Montague and Romeo’s friend) shows up and tells them to sheath their sword. Moments later, Tybalt (a Capulet and Juliet’s cousin) arrives. Benvolio asks him to help break up the fight but Tybalt attacks Benvolio and they fight. Soon Lord Capulet and Lord Montague show up and all hell breaks loose until the Prince shows up threatens to kill anybody who doesn’t immediately stop fighting. He asks for the Capulets to follow him and asks the Montagues to come see him later about this brawl. (ding!)

Benvolio fills the lord in on what’s going on and then Lady Montague asks about Romeo. Seems he’s been locking himself up in his room and crying a whole bunch, which we all know never happens with teenagers so something must be up. Eventually Romeo comes on stage. Seems he’s in love with a girl who doesn’t love him back, whatever that feels like. Benvolio, like a good friend, tell him that what he needs to do is to forget about Rosaline. (That’s the name of his one true love, the type of love that there’s no way he will ever have for anyone else, ever, in his lifetime!)

How to forget about Rosaline? Easy. Chase after other girls to sleep with love.

After his meeting with the Prince, Lord Capulet meets up with Paris in scene 2, a young man who’s really interested in marrying Juliet. Dad thinks she’s a little too young and that marrying to early is not a good thing. But, he’s willing to give his blessing is Paris can win her over. Lord Capulet is throwing a big party tonight and he thinks that would be a good opportunity for Juliet and Paris to meet. He gives a list of guests to his illiterate servant and asks him to go invite his other guests.

Coincidentally, Romeo and Benvolio are walking by and the servant asks them to help him read the letter. After the servant leaves, Benvolio gets a great idea: why not crash the party at the house of their mortal enemy?

We finally get to see Juliet in scene 3. She’s with her nurse who is still responsible for helping her get dressed and otherwise taking care of her while mom and dad get plastered with their friends. Lady Capulet comes and asks her daughter about Paris. She seems to like him so she hopes that Juliet will too. Juliet doesn’t seem very interested in the prospect of getting married but mom insists that it’s happening sooner or later so she better get used to the idea.

Benvolio and Romeo have met up with their buddy Mercutio and are headed to the Capulet party in scene 4. Benvolio and Mercutio alternate making fun of their love-sick and depressed friend. Romeo then tells them of a dream he’s had which he thinks is prophetic. Of course, Mercutio mocks him to no end. Romeo insists that he’s got a bad feeling about tonight but on they go to the party.

The final scene of the act takes place in the Capulet mansion. Lord Capulet walks in a makes a bunch of bad jokes about ladies’ corns and dancing – which I am sure they are thought was totally hilarious and tasteful. Of course, Romeo’s here and this is where he first spots Juliet, without realising that she’s a Capulet. He babbles on about beauty and Tybalt over hears him and realises that he’s a Montague. He’s a bout to storm off after him but Lord Capulet stops him: “he’s not a bad kid and he’s not causing any trouble. I don’t want you starting a fight with him in my house.”

Romeo, who doesn’t seem to care one little bit that he came here to see Rosaline (Rosaline who?), starts sweet-talking Juliet and manages to score a couple of kisses from her before she is called away by her mother. Romeo then learns that Juliet is the daughter of Lord Capulet. Time for the Montagues to leave.

As soon as they disappear, Juliet is asking the nurse about Romeo and learns the bad news: he’s a Montague.

I’ll say this for R&J: that’s a hell of an opening act!

While I suspect that many of you Brawlers know this play already, here are some of the key characters who show up in this act:

  • Benvolio: He’s one of Romeo’s buddies and, at least at first, is trying to keep the peace between the Capulets and Montagues.
  • Tybalt: One of Juliet’s cousins, he’s only too happy to look for reasons to fight Montagues.
  • Romeo Montague: Lovesick Romeo starts the play madly ‘in love’ with Rosaline and then, after spotting Juliet once, swears that he’s never loved anyone before. I’m sure he’ll make a great husband.
  • Juliet Capulet: She seems like a level-headed young girl at first but that goes out the window when she meets Romeo. She just can’t get married quickly enough.
  • Lord and Lady Capulet: The rulers of the Capulet family and Juliet’s parents.
  • Lord and Lady Montague: The rulers of the Montague family and Romeo’s parents.
  • Paris: A young, eligible bachelor looking to marry into the Capulet family. The parents like him but he didn’t stand a chance with Juliet.
  • Mercutio: A friend of Romeo’s who has no patience for Romeo’s melancholic self-pity and who sees what Romeo calls love as lust.

Next week: more bad, life-altering decisions made by horny teenagers.

Oh, and happy valentine’s day.

Also, get ready for a big upcoming announcement about ‘Zounds!

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!

← Back

Thank you for your response. ✨

There Will Be Brawl | Fringe Arts | The Link

Click on the link below to check out Riley Stativa‘s article in Concordia’s Link newspaper on the Bard Brawl and the upcoming journal ‘Zounds!

There Will Be Brawl | Fringe Arts | The Link.

 

unnamed

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!

← Back

Thank you for your response. ✨

BB: Timon of Athens, the Speeches

Artwork - Leigh MacRae
Artwork – Leigh MacRae

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

Welcome back Brawlers to Timon of AthensStephanie E.M. Coleman‘s favourite Shakespeare play.

What better way to wrap up the year than with a Timon of Athens speeches podcast? Just in time for your New Year’s Eve party. (You know, the one where you are serving rocks and warm water to your ungrateful entourage)

Listen to or download the podcast.

 

“Good morrow to thee, gentle Apemantus!” Act I, Scene 1
Speakers: Timon, Apemantus, Painter
Why is Apemantus even at Timon’s house if he’s just going to talk smack at him the entire time? And why does Timon put up with it? Our best guess is that Timon’s house is like the king’s court – anybody and everybody in society is invited and not showing up is like relegating yourself to civic obscurity. Here he is, calling our Timon’s guests for their brown-nosing… and calling out Timon for lapping it up.

“You make me marvel: wherefore ere this time” Act II, Scene 2
Speakers: Flavius, Timon
Timon’s creditors are at his door and he’s just learned the bad news: as a result of his lavish and generous lifestyle, he’s completely broke and can’t afford to pay his debts. He tries to blame his servant/bookkeeper Flavius for not telling him about this sooner but Flavius makes it clear that this is not the first time he’s tried to discuss finances with Timon. Even if Timon sold all of his lands, he would not have enough to pay back his creditors.

“Each man to his stool, with that spur as he would to” Act III, Scene 6
Speakers: Timon, various lords
The lords of Athens believe that Timon has miraculously managed to pay his debts. While they all refused to help him when he asked them for help, they’re all right back at his place for this special feast in their honour. Wouldn’t you be a little suspicious? Even after he’s spelled out why he did this, the lords still don’t quite get it and just think he’s gone crazy.

“How came the noble Timon to this change?” Act IV, Scene 3
Speakers: Alcibiades, Timon, Timandra
Alcibiades and Timon should technically be on the same side; they were both taken advantage of or treated poorly by Athens and are now living in the wilderness. Big difference between the two? Alcibiades is travelling with two prostitutes and it seems to have worked wonders on his mood. In this scene, Alcibiades is trying to understand what drove Timon nuts; Timon is trying to convince Alcibiades to kill everybody.

“By all description this should be the place.” and “‘Here lies a
wretched corse, of wretched soul bereft”
Act V, Scene 3 and Act V, Scene 4
Speakers: Solider, Alcibiades
We’ve actually spliced together two scenes. Act V, scene 3 is just a short scene of an illiterate soldier coming across Timon’s grave. As he can’t read the whole inscription on the gravestone, so he makes a copy of it and brings it to his general, Alcibiades. (My best guess as to how the gravestone gets set up? Flavius must have done it. Unless Timon buried alive by summoning the animals of the forest to do his bidding. Whichever one seems more plausible to you, I guess.) The rest of the ‘speech’ picks up at the end of the play where Alcibiades reads the rest of the inscription and decides that he won’t kill everybody – just the people who the senators of Athens will have decided are guilty of his exile.

That’s it for the Bard Brawl’s eighth play!

We want to thank everybody who helped spread the word and who donated to ‘Zounds!, our upcoming Bard brawl journal! Our campaign raised a total of $1020 thanks to your efforts!

Stay tuned for updates about ‘Zounds! in the coming days and weeks!

And Happy New Year Brawlers!

Artwork - Stephanie E.M. Coleman
Artwork – Stephanie E.M. Coleman

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!

← Back

Thank you for your response. ✨

A conversation with the director, Pericles

The Shakespeare Theatre of New Jersey closes its 51st season with a sparkling and wintery new production of Shakespeare’s Pericles.  Performances run through December 29th at the F.M. Kirby Shakespeare Theatre, 36 Madison Ave. (at Lancaster Road) in Madison.  Individual tickets are now on sale and can be purchased by calling the Box Office at 973-408-5600 or by visiting www.ShakespeareNJ.org.  Inspired by ancient Greek mythology, Pericles is Shakespeare’s grand “once upon a time” adventure tale with equal parts One Thousand and One Nights, Homer’s Odyssey, and the episodic romance of Shakespeare’s own The Tempest, Cymbeline, and The Winter’s Tale. Pericles carries audiences on a voyage across the ancient Mediterranean, encountering everyone from kings, goddesses, pirates, pimps, and magicians along the way. Pictured:  Governor Cleon of Tarsus and his scheming wife Dionyza (left: Clark Scott Carmichael and Jacqueline Antaramian) deliver tragic news to Pericles (Jon Barker). Photo:  ©Jerry Dalia, The Shakespeare Theatre of New Jersey.
The Shakespeare Theatre of New Jersey closes its 51st season with a sparkling and wintery new production of Shakespeare’s Pericles. Performances run through December 29th at the F.M. Kirby Shakespeare Theatre, 36 Madison Ave. (at Lancaster Road) in Madison. Inspired by ancient Greek mythology, Pericles is Shakespeare’s grand “once upon a time” adventure tale with equal parts One Thousand and One Nights, Homer’s Odyssey, and the episodic romance of Shakespeare’s own The Tempest, Cymbeline, and The Winter’s Tale. Pericles carries audiences on a voyage across the ancient Mediterranean, encountering everyone from kings, goddesses, pirates, pimps, and magicians along the way. Pictured: Governor Cleon of Tarsus and his scheming wife Dionyza (left: Clark Scott Carmichael and Jacqueline Antaramian) deliver tragic news to Pericles (Jon Barker). Photo: ©Jerry Dalia, The Shakespeare Theatre of New Jersey.

Daniel J. Rowe

Few theatre companies delve into the lesser-known Bard play Pericles, and what’s up with that? There are pirates! The Shakespeare Theatre Company of New Jersey, however, has done the right thing and dove right in. Director Brian B. Crowe spoke with the Bard Brawl about the company’s reasons for staging Pericles, and some of the ideas the production followed. The production runs until January 29, 2013.

Bard Brawl: Why did the theatre decide to do Pericles, such and obscure play?

Brian B. Crowe: We are first and foremost a theatre that is excited about classics of all ilks – specifically Shakespeare – but we will also try lesser known pieces as well, and there are some lesser known Shakespeares as well and that certainly falls into that category. 

This particular season we were looking for something for the holiday spot, and I had workshopped a production of Pericles with some of our students a few years ago, and didn’t know much about it prior to that, and kind of fell in love with the magic of it, and the intrigue and the great resolution at the end; this family reunited, good wins out, and there’s honour in it and the bad guys get what they deserve, which doesn’t always happen in real life so it’s nice to have it on stage once and a while.

B.B.: …and there are pirates!

Pictured: In the colorful kingdom of Pentapolis, Pericles (Jon Barker) battles a knight (Jordan Laroya) during Princess Thaisa’s birthday tournament. Photo:  ©Jerry Dalia, The Shakespeare Theatre of New Jersey.
Pictured: In the colorful kingdom of Pentapolis, Pericles (Jon Barker) battles a knight (Jordan Laroya) during Princess Thaisa’s birthday tournament. Photo: ©Jerry Dalia, The Shakespeare Theatre of New Jersey.

B.C.: …and there are pirates, and there’s incest and there’s a brothel, which is everything you need for the holidays.

B.B.: Was it a challenge to introduce the audience to the play? Did you get a lot of reaction right away? When you do Romeo and Juliet, you know it’s going to be packed. When you do Pericles, a lot of producers/directors might be a little nervous they won’t get the audience.

B.C.: We have a pretty exciting audience in the fact that they love to come to the smorgasbord of things that we’ll give them and they’ve got a well-refined palate, I guess you could say. They know that whatever piece we do we will find some form of elegance and artistry to bring to it. Obviously the play itself has it.

It’s mainly just really pushing the fact that we’ve all seen A Christmas Carol 9,000 times, we’ve all seen the Nutcracker. I can’t even tell you how many variations of A Christmas Carol I’ve seen; some of them are great, some of them are really not.

A lot of people want an alternative to it.

We had an audience member who said, ‘I had no idea what I was coming to.’ She said she had been to the theatre before and like the work that we did. Pericles could have been anything to her. She sat down in the theatre and she said, ‘let’s see what happens.’
She had a blast, and she said it was not a problem to follow. We actually changed up the Gower narrator to be a three-woman chorus that is present throughout the entire show as opposed to him just popping in throughout the show. They become extensions of the goddess Diana. She said for her particularly that was a great way to navigate the show and she had a blast.

B.B.: With Shakespeare you can always pull themes out of the play. You mentioned the Gower theme of honour and duplicity and how to conduct yourself as a ruler. How did you explore that issue as far as Pericles trying to understand how to react?

B.C.: One of the things that we talked about very early on in the rehearsal process was the journey of Pericles and how he starts off as this young ambitious sort of 20-something at the beginning of the play out to make his mark in the world: I’m going to win this evil king’s daughter because she’s beautiful and no one else can, and that’s going to become my claim to fame. That will be the legend people will tell about me.

Pictured: Heroic Pericles (Jon Barker) embarks on an adventure unlike any other, under the watchful eyes of the Chorus (left to right: Amaya Murphy, Corey Tazmania, Meg Kiley Smith). Photo:  ©Jerry Dalia, The Shakespeare Theatre of New Jersey.
Pictured: Heroic Pericles (Jon Barker) embarks on an adventure unlike any other, under the watchful eyes of the Chorus (left to right: Amaya Murphy, Corey Tazmania, Meg Kiley Smith). Photo: ©Jerry Dalia, The Shakespeare Theatre of New Jersey.

That kind of young, youthful approach to life. Literally just seeking adventure and honour for adventure and honour’s sake not for necessity.

It’s interesting for being a young king, he doesn’t do much ruling throughout the play. He’s off to get Hesperites and that doesn’t work out, he then has to run for his life so he’s not being the ruler again, then he helps out Tarsus which is great, so he does something and he’s actually honoured there. In this production, when we’re navigating it through, we kind of said, ‘well this is an honour that you’re looking for, this is something that you were looking for,’ and the approach was humbled and that’s not kind of legendary. That’s not what he was looking for, but he sees that he can actually do good in the world instead of just doing good for himself.

…and then he has another disaster, and then he falls in love and loses that love, and then he becomes a more mature and better king through the trials that he’s gone through…

By the end, when he thinks he’s lost his daughter as well, he has the ability to truly respect the relationships that he sort of went willy nilly for.

It’s like someone going on the bachelor and thinking they’re going to find marriage and true love because it’s a big show and this is what it is, Then, 30 or 40 years later actually finding it.

I think it’s (the play) very contemoparary and works for modern audience because it’s all about instant gratification, and that’s not what life is about. Life is about finding these moments – especially during the holidays where you can look back on your life, look back on your relationships – and this is a wonderful happy ending, but it takes 15 years to get there and realize what he has.

The honour and the legend that he hopes to be, that he starts the first scene with, he actually does win in the end.

BRIAN B. CROWE (Acting) is in his eighteenth season with The Shakespeare Theatre where he is currently the Director of Education. Mr. Crowe also directs in-school residencies, teaches in the Summer Professional Training Program, and works with the Junior and Senior Shakespeare Corps for the Theatre. The Star-Ledger called Mr. Crowe “one of the state’s most ingenious directors” for his work on Love’s Labour’s Lost and named him Best Director of a Drama (Julius Caesar and Wonderland) as well as one of three “theatre artists to look for in the new millennium.”Other directing credits includeRed Herring and A Perfect Ganesh at 12 MilesWest;  Romeo and Juliet, The Tempest (DayTony recipient), Noises Off, the Midwest regional premiere of The Beauty Queen of Leenane andPatient A with The Human Race Theatre Company,where he is currently a resident artist;Somewhere in Between and Children of a Lesser God at Dayton Playhouse. Mr. Crowe received BFA degrees indirecting and acting from Wright State University, and was a Fellow at the 2000International Salzburg Shakespeare Seminar.

BB: Timon of Athens, Act IV

T-carrick-stamp

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

The table is set, the guests drenched in lukewarm water and the flatterers pelted with rocks. It time for act IV of Shakespeare’s tragedy, Timon of Athens!

Listen to or download the podcast.

Welcome back Brawlers. Last show Timon’s ‘friends’ were “touched and found base metal” by his servants so that Timon finally figured out that he was penniless and friendless and that pretty much no one but his servants cared that he was totally bankrupt.

With nothing left for him in Athens by the start of act IV, he decides that all human beings are disgusting, two-faced scumbags and so he does the only sensible thing and runs off to live in the wilderness by himself. Insert litany of curses and well-wishes: may your prostitutes be considered virgins, may the young steal from and beat up the old, may your state be a lawless cesspool fueled by avarice and lust.

So, it turns out that the only friends Timon has are his servants, with Flavius being particularly vocal about how it falls to the servants to try to help Timon out however they can. “Flavour’ Flavious runs off to find and continue to serve Timon at the end of scene 2.

Remind you of a certain Kent from act I of King Lear?

Seems that by scene 3, Timon has moved into a cave with a view, at the edge of some woods, right by the seashore. Seems like things might be looking up for this foraging caveman misanthrope.

As he’s digging for some roots to eat, Timon finds some gold. Timon’s about to bury all of it again when he hears some marching music in the distance. He buries most of the gold but keeps some of it, so he can torment the other humans with it, very likely. Alcibiades, who has been banished from Athens and now gathers up an army to assault the city, wanders by Timon and his cave.

Alcibiades figures out who this is but has no idea what happened back in Athens and why Timon is out here in the woods. Just like we have no idea why Alcibiades is leading an army flanked by two prostitutes. But, seeing as they are there, Timon sees an opportunity to use them in the war effort: he gives them gold and asks them to infect every in Athens with the STDs they are undoubtedly carrying. Timon also gives Alcibiades gold to make sure that he slaughters everyone in Athens. Lovely.

As soon a Alcibiades leaves, Apemantus shows up. They swap insult and wish one another a long and painful life, full of suffering, before they quickly part ways.

When Apemantus exits, some bandits, having heard that Timon found gold, show up to steal it. Timon gives them the gold and sends them off to Athens to rob all of the lying thieves in Athens blind. And maybe slit a few throats while they’re at it.

Finally, Flavius shows up and offers his continued service to Timon. His former master is about to turn him away but Flavius manages to convince him that maybe not every human being is a totally reprehensible entity entirely bereft of honestly and worth. So, Timon amends his position: all of humanity needs to die, except for Flavius.So Timon gives him some money and chases him off.

What’s left now that Timon’s given all of his money away. Again?

Tune in to the next episode to find out.

Sonnet 33 read by first-time sonneteer David Kandestin.

 

Join us by contributing to the Bard Brawl journal volume I at our Indiegogo page.

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!

← Back

Thank you for your response. ✨

BB: Timon of Athens, Act III

artwork - Stephanie E.M. Coleman
artwork – Stephanie E.M. Coleman

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

Welcome back to the Bard Brawl! This week, Daniel J Rowe, ‘Mister’ Nicholas MacMahon and myself are back for act III of Shakespeare’s tragedy, Timon of Athens.

Listen to or download the podcast.

With creditors knocking at his door, Timon turns to his friends to lend him a little money so he can avoid bankruptcy. He sends his servants out to see the three lords who he feels pretty confident will be able to bail him out.

Flaminius arrives at lord Lucullus’ house in act III, scene 1. Lucullus greets Timon’s servant warmly as he expects that he is here to deliver some sort of gift. When he discovers that Flaminius is there to ask for money, Lucullus puts on his best ‘I told him not to be so generous’ act and then tries to bribe Flaminius so he’ll pretend he wasn’t able to find Lucullus. Flaminius tosses the cash back at Lucullus then curses him (and all other selfish jerks like him) to be boiled in a vat of molten coins.

The next lord to be visited is Lucilius. By the start of this scene, he has apparently heard that Lucullus refused to bail Timon out. He finds it deplorable and says that of Timon had turned to him instead, he would have been happy to help him. And on that cue, Servilius enters. Lucilius also seems to think that Timon’s servant is here offering gifts at first. When he finds out that Servilius is here to beg some cash for Timon, Lucilius replies that he would love to be able to help Timon out but – wouldn’t you know? – he just spent the last of his available funds this very morning, just before Servilius arrived. What an unfortunate coincidence.

Are all of Timon’s friends flattering jerks? Surely Sempronius isn’t like Lucius, Ventidius, or Lucullus? At the start of scene 3, Sempronius seems disgusted by the fact that the others lords have refused to help Timon. Even worse, Sempronius is disgusted that he wasn’t asked first, as this might suggest that maybe Timon doesn’t like him as well as the other lords. So, if Timon doesn’t care for him as much and his close friends refused to bail him out, why should Sempronius have to help him out? He proclaims to Timon’s servant that any man who would dishonour him in this way won’t get any help from him.

With no one left to ask for money, Timon has locked himself up in his house in scene 4. In a hall in his house, his creditor’s servants want to be paid. Seems that the servants aren’t too keen to be collecting from Timon when they know full well that their masters walk around with the jewellery that Timon once gave them. As they wait, Timon’s messengers return to announce that they have failed to get any money for Timon’s debts.

Timon eventually enters the hall in a rage and is greeted by the collectors’ bills. He offers to pay with his blood and flesh and chases the servants out of his house. Once they are gone, he asks his servants to invite all of his former friends back to his estate for one final banquet.

We leave Timon behind for a moment as scene 5 takes place in the Athenian senate-house and features the general Alcibiades. It appears that one of Alcibiades’ soldiers was involved in the violent crime in Athens. The law calls from his execution but Alcibiades, as his commanding officer, is here to beg the senate for leniency. The senate refuses. When Alcibiades is a little too insistent in his critique of the thanklessness of the Athenian senate, they banish him from the city despite all of the wars he fought for them. This should remind you of another general who was forced to turn his back on his city.

The last scene of the act takes place in Timon’s house. The lords have all arrived for the feats and are commenting that clearly Timon’s need for money must not have been so great as they have heard. Timon greet them all and escorts them into the dining room where for each guest is layed out a covered dish. The lords sit down, Timon curses all of Athens’ flattering lords, and once the covers are removed, each guest sees that their meal is warm water and rocks. Timon slashes the water in their ungrateful faces and then drives them out in a hail of stones.

The craziest part of the whole thing is that none of the lords seems to have a clue as to why Timon would be pissed at them…

Penniless and friendless, What’s next for Timon? Find out next week!

Sonnet 56 read from afar by Zoey Baldwin.

Shout out to the Segal Centre’s production of Othello in its last weekend and the Shakespeare Theatre of New Jersey’s upcoming Pericles from Dec. 4 – 29.

 

Join us by contributing to the Bard Brawl journal volume I at our Indiegogo page.

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!

← Back

Thank you for your response. ✨

A conversation with the director, Othello

Othello, directed by Alison Darcy. (courtesy the Segal Centre)
Othello, directed by Alison Darcy. (courtesy the Segal Centre)

Daniel J. Rowe

It is one of Shakespeare’s most engaging and intriguing works: Othello, now playing at the Segal Centre in Montreal. It is a favourite of the Bard Brawl and watched with scrutiny by viewers. Check out brawler Eric Jean‘s review. Director Alison Darcy spoke with the Bard Brawl.

Bard Brawl: Othello is huge in scope and theme, and it’s been done a lot. Does that add pressure or do you enjoy that?

Alison Darcy: Both. I think it adds pressure and I kind of enjoy it. Of course everyone has their own ideas about the play and about Shakespeare and how it should be done, and I like the fact that there is no should and this is the way our team felt that it’s truth was being revealed in the most interesting way in the moment. This was what we wanted to offer from it. It’s interesting to challenge people with that because so many people have really strong preconceptions about how Shakespeare should be done. It’s interesting not to necessarily always follow that, but to go with what you think is the truth of the play.

B.B.: In the same sense don’t you find that often people allow a lot more exploration these days then they used to?

A.D.: For sure. Now, it’s almost expected to have your own interpretation, but it’s still, when it comes down to actual technique of the language or certain characters, people still have their reservations and their favourites and their favourite lines and their ideas of what things mean. Before it used to be more stylistically, they would say that it would have to be done in a certain period or a certain focus on the language in a very specific way, accents or whatnot. Now it’s more about interpretation, but still people have their preconceptions and they come out quite ferociously at times. People are quite willing to go to battle to defend their ideas of how Shakespeare should be done. Particularly this play.

B.B.: You use water as a metaphor throughout, and the final dramatic scene was very much centred on it. Can you tell me a bit about why you decided to use water in that way?

A.D.: For me it came from the text. It’s really prevalent in the text – water as a theme. It’s constantly referred to as being symbolically linked with deceit, and with passion. It says, ‘she’s false as water.’ A lot of the major themes are linked to water in the play, and so I was originally already playing with that. I also find that elementally, it’s very connected to the way the play moves. It’s a very quick-paced, mercurial kind of text, and it shifts and changes very quickly as does Iago’s mind and the way he moves and it feels like water to me.

The ending and the way I used the water in the ending? I like to leave it open to debate. People have been very vocal about it. Some people really didn’t like it, and some people absolutely love it. What’s more interesting to me is what people think it means. Some people are just absolutely baffled by it and others have very clear ideas about what metaphorically it meant. I have my own ideas about it of course, but I have no interest in didactically forcing that opinion on anybody else. It’s an allegory or it’s a metaphor and it’s there to be interpreted… It’s what I felt encapsulated that moment for me in the play. The fallout from the climax and the gushing of everything emotionally and psychologically that comes forth in that fifth act.

B.B.: You can’t do Othello without addressing race, but you don’t seem to push that theme far, and in not pushing the race card as far as you could have a lot of other themes emerge like the Emilia feminist line. She was really good.

A.D.: She’s amazing, and maybe it’s because I’m a female director, but I’ve always found the female characters in this play particularly moving. People often kind of hate Desdemona – not this version though, people have I think been liking this Desdemona. I always found it unfair for people to judge the character the way they did and I don’t find historically that Emilia gets her due, as such a strong character. I guess my leaning were in that direction to explore.

I wouldn’t say that I didn’t explore the racism. I think what I did do was change the conversation a bit, so that it wasn’t necessarily racism, but it was more about ‘outsiderism’, which is definitely something that is very strong in the play and they do treat him as an outsider, and I think that the exoticism of him and the separation of him constantly creates a personna that he allows himself to engage in: the story teller, the magnificent warrior that I don’t think he really is. I think he enjoys the language and the story telling, but when it comes down to it I think the insecurity that he has being part of this kind of society that doesn’t ever really accept him is then really used by Iago to draw him out of his safe zone.

I’ve always thought of the handkerchief as being a real symbol of who he is. It’s this ellaborate, exotic, foreign item that is valued for its exoticism and its beauty, and for how different it is. Everyone wants to get it copied. Everyone wants to have a piece of it.

Apparently at the time it was actually very gauche that – if you were within the same social class as someone – to ever show your wealth as being exceeding of theirs, so the only kind of way to make yourself better than your neighbour was to find exotic items and things from far away. It was to have these little secret closet collections.

I’ve often thought of Othello as, in a way, a rarity that’s been collected from a foreign land and brought to Venice and cherished because he’s different and odd. Therefore, his actual self, his sense of real self is muted by this idea of who he is; this exoticism. He even says the way he won over Desdemona was by telling these fantastical stories most of which we know are not true. I think he identifies with that idea of being a curiosity, and he thinks that that is his value.

So then when this handkerchief, which symbolizes the same kind of thing, is so easily dismissed or given away by her, it’s like she’s giving away his identity.

 Sean Arbuckle (Iago) - Photo by Andrée Lanthier; (courtesy the Segal Centre)

The handkerchief is a symbol of who Othello really is, according to the play’s director.  Sean Arbuckle (Iago) – Photo by Andrée Lanthier; (courtesy the Segal Centre)

I feel like the play is really about sense of self and about the way that your identity can be stripped from you due to racism or whatever it may be. I think that’s what destabilizes him, not just the jealousy. Just becoming that jealous, it never really made sense to me, and it’s always a problem people have with the play. Why does he go so crazy so quickly? I feel it’s because Iago knows exactly the precision point how to attack him, and it’s with this sense of self. It’s also because Iago also his sense of self was undermined and taken away when his status as a warrior was taken from him by Othello.

Darcy-Alison2Alison Darcy is the co-founder and co-artistic director of Scapegoat Carnivale Theatre. In addition to directing, producing and teaching theatre, she has been acting professionally since childhood.  

Tickets can be purchased from the Segal Center box office, either by phone at 514-739-7944 or directly on the Segal Centre website site. Prices startfrom $24. The play runs until December 1st.

CBC Canada Writes article on the Brawl

November 14, 2013 article by Emily Murphy
November 14, 2013 article by Emily Murphy

 

Check out Emily Murphy’s article for CBC Canada Writes on the Bard Brawl.

 

Screen Shot 2013-11-15 at 10.43.08 AM

 

Join us by contributing to the Bard Brawl journal volume I at our Indiegogo page.

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!

← Back

Thank you for your response. ✨

 

 

Up ↑