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BB, The Comedy of Errors, Act V

23 Jul
The feature logo for The Comedy of Errors is brought to you by Mezari designer Stephanie E.M. Coleman. We think it’s pretty rad.

Bard Brawl co-creators Eric Jean and Daniel J. Rowe welcome you all to Act V of  The Comedy of ErrorsWe finally made it!

Listen to the Bard Brawl podcast.

 

Once again we are joined this week by our readers Gage K. Diabo and “The Golden Nugget,” Brooke W. Deer.

This is the final act of Comedy of Errors so, as one would expect, it’s time to untangle the mess of mistaken identities. So I guess that means that everyone will come together calmly around a table and compare notes so they can all have a good laugh about how they’ve been so confused for the past few days.

Except that’s not quite how it plays out because that would make too much sense and would clearly be the type of conclusion a lesser playwright might come up with.

Instead of this totally logical and amateurish ending, Shakespeare conjures up an abbess to step in and sort everything out. However, because that’s not quite enough of an impact, Shakespeare reveals that Aemelia is in fact the mother of the two Antipholi and the long-lost wife of Egeon.

I guess convents were basically just giant suspended animation chambers in the ancient world? Kinda.

Some people think that the Catholic elements that show up in Shakespeare’s plays reveal Shakespeare’s own secret Catholicism. Maybe, but probably not.

I just think that he liked the quasi-magical characteristics which Protestants often saw in Catholic ritual and dogma.

Basically, Catholicism just gives Shakespeare some extra dramatic tools. Like the idea of taking sanctuary in religious houses or being able to hide a mother/wife away in a convent for twenty years.

That doesn’t mean that there aren’t a bunch of religious or biblical elements to the play.

The abbess’ speech towards the end of the play seems to pretty clearly reference Jesus, the nativity and salvation.

Jesus was 33 years old when he we crucified. He then comes back to save humanity from the original sin, that “sympathized one day’s error” way back in the Garden of Eden. The abbess is a mother figure associated with the Virgin Mary.

Oh, and as a bit of a bonus: Ephesus was the city where the Council of Ephesus took place in the 5th century.Why might that be important? Well, that’s the big meeting where the church decided that the Nicene Creed would form the basis of orthodox Christian faith. Kind of a bog deal.

We might be wrong but Aemelia does save everyone in the play and sort of dispels the magic which seems to hang about Ephesus.

Here’s what we’re reading this week, if you want to follow along.

Act V, scene i (lines 29-112):Thou art a villain to impeach me thus” (Characters: merchant, Angelo, Antipholus of Ephesus, Antipholus of Syracuse, Dromio of Ephesus, Dromio of Syracuse, Adriana, Abbess Aemilia, Luciana)

Act V, scene i (lines 392-end of play): Renowned duke, vouchsafe to take the pains” (Characters: Antipholus of Ephesus, Antipholus of Syracuse, Dromio of Ephesus, Dromio of Syracuse, Abbess Aemilia, Solinus, Duke of Ephesus)

We’d love to hear what you think! Feel free to comment below!

 

Thanks for listening and stay tuned for the next bard Brawl play.

Oh, here’s the link to the Butcherette’s Facebook page. Hit her up for some fantastic cuts and charcuterie!

Stephanie E.M. Coleman, The Bard Brawl


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BB, The Comedy of Errors, Act IV

16 Jul

Stephanie E.M. Coleman, The Bard Brawl

The feature logo for The Comedy of Errors is brought to you by Mezari designer Stephanie E.M. Coleman. We think it’s pretty rad. Check out her event this Thursday in Montreal.

Bard Brawl co-creators Eric Jean and Daniel J. Rowe welcome you all to Act IV of  The Comedy of Errors

Listen to the Bard Brawl podcast.

 

Reading this week is Gage K. Diabo who is joined in the brawl by Brooke W. Deer, “The Golden Nugget.”

Let’s talk cash money..

The setting for the Comedy of Error – the city of Ephesus – was an ancient trading city whose power rested on the power of its merchant ships. In this way it’s pretty similar to England in the 17th century. It’s also very similar to some other Mediterranean settings like Venice where a certain merchant ends up indebted to Shylock for a pound of flesh.

Some of these mercantile themes crop up even in a early play like Comedy of Errors.

What’s the setup?

Egeon, father of Antipholus of Ephesus and Syracuse, was found trespassing in the city while searching for his lost son(s). The punishment for that crime is death. Egeon’s story moves the duke but he states that he cannot change the law. However, if Egeon can somehow find his son and come up with bail money then he can go free.

Antonio mentions basically the same thing  in Merchant of Venice but explains that the reason the duke cannot overrule the law when confronted by a sad story is that mercantile societies rely on the supposed impartiality of the rule of law:

The duke cannot deny the course of law.
For the commodity that strangers have
With us in Venice, if it be denied,
Will much impeach the justice of his state,
Since that the trade and profit of the city
Consisteth of all nations. (Merchant of Venice, III, iii, 26-30)

Money keeps changing hands in other way during the play. There’s the whole plot around a gold chain. The merchant keeps asking the wrong Antipholus for cash, the chain is given to the wrong one. The goldsmith needs the payment because he owes money to the merchant who is about to set off for Persia. Seeing as Antipholus doesn’t seem willing to pay, the goldsmith tries to have him arrested for not paying his debts.

The idea of bonds is paramount. It<s not just a matter of keeping one’s word and being honest. It’s also a matter of being good for it, of paying up when the time comes.

Here’s what  we chose to read for you this week.

Act IV, scene i (lines 1-84):You know since Pentecost the sum is due

Act IV, scene iii (lines 1-67): “There’s not a man I meet but doth salute me

Let us know how we did!

Here’s a link to the CBC article discussed in the pod about Indigenous authors trumping the bard in one teacher’s classroom.

And here’s a link to the Wikipedia article for Aimé Césaire’s re-write of The Tempest. (There’s a link on the Wikipedia page to an English translation of the play.)

See you next time!

Brooke Deer (and sister Jessica), brawling Comedy of Errors.

 

 


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BB, The Comedy of Errors, Act III

9 May
The feature logo for The Comedy of Errors is brought to you by Mezari designer Stephanie E.M. Coleman. We think it’s pretty rad.

Welcome back Brawlers to Act III of  The Comedy of Errors

Listen to or download the bard brawl podcast of act III. New Soundcloud page here.

This week we talk proto-feminists, servitude and abuse. And yes, this is somehow still a comedy and this is all very funny, right?

First, we take a look at our twinned servants as they face off in a battle of words to gain access to Antipholus of Ephesus’ house. Dromio of Syracuse and his master are inside Antipholus of Ephesus’ house, but the rightful master has been locked outside while his wife thinks the wrong Antipholus is her husband.

Hilarious.

While this is happening, Antipholus of Syracuse is inside the house macking on ‘his’ wife’s sister, Luciana. She’s freaked out that he brother-in-law is creeping on her and keeps trying to get Antipholus of Syracuse to act like a proper husband. (In this case, like Antipholus of Ephesus.)

I guess it’s kind of reassuring to think that Antipholus of E. might be a pretty decent husband because Adriana deserves it. She and her sister certainly put up with a lot of crap throughout the play for the sake of these two Antipholuses. (Antipholii? Whatever.)

After being brushed off by Luciana, and being forced to play husband to Adriana, Antipholus of Syracuse again describes the city of Ephesus as some sort of dangerous magical place filled with witches and mermaids.

That’s some pretty strongly gendered language for a play in which two sets of men spend all of their time confusing the hell out of all the women around them.

So feel free to follow along!

Act III, i (31-85): “Maud, Bridget, Marian, Cicel, Gillian, Ginn!”

Act III, ii (1-69): “And may it be that you have quite forgot”

Act III, ii (116-124): “There’s none but witches do inhabit here”

Have a listen and tell us what you think of our twinned twins! Tune in next week for Act IV!

 

 


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BB, The Comedy of Errors, Act II

30 Apr
The feature logo for The Comedy of Errors is brought to you by Mezari designer Stephanie E.M. Coleman. We think it’s pretty rad.

Bard Brawl co-creators Eric Jean and Daniel J. Rowe welcome you all to Act II of  The Comedy of Errors

Listen to the Bard Brawl Podcast here! or Here!

 

Hey, why doesn’t this play work in film? Something to do with sweat spray from slapping the Dromios?

I have no idea. But our very own Gage posits an answer to that question. You’ll need to listen to get the skinny.

If you want to read about a stage version that managed to really make this play work, check out this review.

This week, we read the following parts from act II:

Act II, i (14-43): “There’s none but asses will be bridled so.”

Act II, i (52-80): “Why, mistress, sure my master is horn-mad.

Act II, ii (82-123): “Ay, ay, Antipholus, look strange and frown”

Feel free to follow along and delicately correct our pronunciation while giving us slightly patronising smiles from behind your Complete Works.

Oh, and just look who showed up to read with us.

Joining the Bard Brawl as a reader today is Sabrina Daley.

Also along for the ride again is Gage K. Diabo.

Because we know you’re just too shy to ask but are dying to know, here’s a famous line from this act to memorize:

“How many fond fools serve mad jealousy” – Luciana.

You’re welcome. There may be a quiz in a few weeks. Just saying.

Here’s a link to Shakespeare Kelowna,  a company that will be putting on Comedy of Errors May 17-28. If you’re in the area, you should go check it out. If you know of any other companies staging Comedy of Errors, let us know. We’d love to get the work out!

Catch us next week as we continue to get lost in the side-streets of Ephesus with our Dromios and Antopholi! (Antipholuses? Whatever.)

Stephanie E.M. Coleman, The Bard Brawl


 Stay in Touch Brawlers!

Follow @TheBardBrawl on Twitter.

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Email the Bard Brawl at bardbrawl@gmail.com

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BB, The Comedy of Errors, Act I

23 Apr
The feature logo for The Comedy of Errors is brought to you by Mezari designer Stephanie E.M. Coleman. We think it’s pretty rad.

Stephanie E.M. Coleman, The Bard Brawl

Welcome to Act I of  The Comedy of Errors brought to you by the Bard Brawl. And happy birthday, Will!

We think it’s your birthday, anyway. Although Google may disagree or else feels that you’re not important enough for a doodle this year. I mean, you were baptised on the 26th of April so April 23rd seems like good enough of a guess, right? It also happens to be the day you died on. Weird.

Well, we promised it, and at last we’ve delivered.

Nope, once again it’s not act V of Titus Andronicus, even though you promised you wouldn’t bring it up again.

It’s a brand new play with a brand new Bard Brawl format. Instead of reading out each act of the play in its entirety, we’ve picked out some of our favourite bits. Kind of like a sports highlight reel but unlike this shameful display, or this one, there are no losers and the commentators don’t speak in those awful sports jock radio voices.

In between these speeches, which will be read by a revolving cast of Brawlers, our Bardic talking heads will try to point out what we think is interesting, noteworthy or just plan awesome about each act.

So grab a listen, subscribe and tell us what you think as we go pound for pound with the birthday boy!

Download or listen to the podcast here or subscribe on iTunes.

 

Welcome reader Gage K. Diabo for the Comedy of Errors.


 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!