Henry V at the Stratford Shakespeare Festival

A couple of years ago, after several unsatisfactory experiences in a row, Emsworth vowed to attend no more Shakespeare productions directed by Stratford Festival Artistic Director Des McAnuff.  But when Henry V was announced for the 2012 season, an exception seemed to be called for.  How much of a muddle could McAnuff make of it?  The setting of Henry V is fixed firmly in England and France in 1415; what were the chances Mr. McAnuff would set it in a fascist country in 1930?  And if McAnuff ran amok with glitter and spectacle, as was inevitable, would it ruin a play like Henry V?  I didn’t see how it could, and went ahead to order an excellent pair of third-row tickets.

Aaron Krohn as King Henry V. The Stratford show does not use actual horses.

But poor acting will sink any play.  True, Mr. McAnuff didn’t mess with the setting of the play.  And visually it’s a success, from the elaborate period costumes to pageantry of the chorus parts to the cannon to the enormous British flag. The brawl in the tavern between the hot-tempered Pistol and Nim went off nicely, and the battle scenes were lively and cleverly choreographed. But none of this made up for the fact that King Henry is poorly cast and that long parts of the play are simply tedious.

One can say this of Aaron Krohn: with his compact figure, square jaw, and steely eyes, he looks very much the part of the 28-year-old king. He can be heard pretty well, and he has all his lines memorized.

But in all other respects his performance falls well short. The part of Henry V calls for an enormous range of expression, from the early moment when the king shows his steel by showing no mercy to traitors, to his ironic and meditative dialogues with his soldiers on the eve of battle, to the famous “band of brothers” speech, to his shocking order that the French prisoners be killed, to the wooing of the Princess Catherine. Mr. Krohn is a man of one voice — it matches his steely eyes — and he uses it on every occasion.

A good actor accompanies his lines with appropriate gestures; the Stratford Festival’s best actors convey as much with looks and body language as with words. But Mr. Krohn looks into the distance, and his arms fall limply at his side.

McAnuff

How much a director can be blamed for poor acting from a play’s lead actor, I cannot say, but nevertheless all of the worst acting performances we have seen at Stratford have been in plays directed by Mr. McAnuff.  Mr. Krohn’s expressionless speech on the eve of the Battle of Agincourt would not have inspired a pack of wolves to attack a stray lamb.

Did Mr. McAnuff, who seems to prefer doing things different in Shakespeare merely for the sake of being unconventional, tell his lead actor not to deliver a rousing speech, simply because that’s what other actors usually do?  In Act V, Scene 2, the Duke of Burgundy, a minor character, is given some of the best poetry in Henry V, lines that illuminate the playwright’s mature reflections on war and peace. Burgundy’s speech uses horticulture as an extended metaphor for a French nation in which peace and the blessings of peace have not been allowed to thrive:

And as our vineyards, fallows, meads and hedges,
Defective in their natures, grow to wildness,
Even so our houses and ourselves and children
Have lost, or do not learn for want of time,
The sciences that should become our country;
But grow like savages,–as soldiers will
That nothing do but meditate on blood,–
To swearing and stern looks, diffused attire
And every thing that seems unnatural.

Did Mr. McAnuff fail to notice that Xuan Fraser, as Burgundy, showed no evidence of understanding his lines? As Burgundy droned on, the Stratford audience zoned out. Did Mr. McAnuff fail to notice that the wooing scene between King Henry and Princess Catherine (Bethany Jillard), toward the end of the play, was dying a slow death, and that Mr. Krohn and Ms. Jillard seemed to be caught in a dialogue loop from which they could not escape?

It’s not all bad.  The tavern scenes, with Bardolph (Randy Hughson), Pistol (Tom Rooney), Nim, (Christopher Prentice), and the Hostess (Lucy Peacock) are lively and well-acted; Mr. Rooney is a treasure.  The scene in which Bardolph has been arrested for stealing a chalice from a chapel is rendered with feeling and suspense: will they really hang the reprobate?  I especially enjoyed Juan Chioran as Montjoy, the French king’s herald, and Ben Carlson as Fluellen, the Welsh captain in King Henry’s army.

And McAnuff, no doubt correctly guessing that a good part of the play’s audience would not understand French, gave interest to the episode in the palace between Princess Catherine and her lady-in-waiting, Alice (Deborah Hay) by having the dialogue (all in French, as the playwright wrote it) take place during Catherine’s bath.  Any doubt as to whether the actress was actually bathing in the altogether was removed when the Princess stood, her back and backside to the audience, to be dried off.

“What ho, Pisanio!” — Echoes of Cymbeline in P. G. Wodehouse

P. G. Wodehouse

I can’t prove it, but I feel in my bones that echoes of Cymbeline can be found in P. G. Wodehouse. As I noted in an earlier post, Wodehouse’s stories are full of allusions and quotations from Shakespeare. What would make it unusual is that Wodehouse drew mostly from the best-known Shakespeare plays; I’m not aware of any other references in Wodehouse to Cymbeline

What struck me in Cymbeline, when we saw it performed a week ago at the Stratford Shakespeare Festival, were words that fell from the lips of Innogen when she realized (Act I, Scene 6) that Iachimo was a dirty-minded lecher who had been feeding her lies about her husband Posthumus to get her into bed. Innogen calls for Pisanio to show Iachimo the door: “What ho, Pisanio!”

In Wodehouse, of course, Bertie Wooster and his Drones Club friends often greet each other with a friendly “what ho,” as they do, for example, in the 1922 novel Right Ho, Jeeves.  Other Wodehouse characters too, as in Indiscretions of Archie, Chapter XVIII:

Archie was concerned. “Listen, old bean. Make an effort. You must remember that sausage episode? It was just outside St. Mihiel, about five in the evening. Your little lot were lying next to my little lot, and we happened to meet, and I said ‘What ho!’ and you said ‘Halloa!’ and I said ‘What ho! What ho!’ and you said ‘Have a bit of sausage?’ and I said ‘What ho! What ho! What HO!'”

Back to Cymbeline: a few seconds later, the angry Innogen assures Iachimo that her father the King surely won’t stand for a “saucy stranger” who has exposed his “beastly mind” to her as Iachimo has. “Beastly” is another Wodehouse trademark . Bertie Wooster and his pals use it as a all-purpose pejorative, but they are especially apt to apply it (much as Innogen does in Cymbeline) to romantic rivals, with the implication that the motives of those rivals are less than pure.

In chapter 11 of Right Ho, Jeeves, for instance, Tuppy Glossop, rants that if he ever catches up with the unknown “foul blister” who has alienated his girlfriend Angela’s affections, he plans to “to take him by his beastly neck, shake him till he froths, and pull him inside out and make him swallow himself.” Wodehouse used “beastly” six times in Right Ho, Jeeves alone.

It may be only my fancy that Wodehouse drew from Cymbeline, which after all isn’t the only Shakespeare play in which somebody says “what ho.”  Macbeth calls out “Who’s there?  what, ho!” shortly after he murders Duncan.  In Romeo and Juliet, another Wodehose favorite, several citizens of Verona use the phrase, including Capulet (“What, ho! What, nurse, I say!), Romeo (“What, ho! Apothecary!”), and the Prince of Verona, complaining of the brawling in the streets (“What, ho! you men, you beasts . . .”).  In a comment to the original version of this post, Stina pointed out that the use of “beastly” is not terribly uncommon in Shakespeare; it appears about 20 times in various plays. It appears to me, though, that only three times did Shakespeare put the word in a character’s mouth for the purpose of name-calling, the way Wodehouse usually did: in Lear (“you beastly knave”), in Henry IV Part 2 (“Thou, beastly feeder”), and in Cymbeline (“His beastly mind”).

Only in Cymbeline do the Wodehousean words “what ho” and “beastly” appear in close proximity.  Cymbeline isn’t notable for famous lines, but Innogen’s rebuke of Iachimo is a highlight of the play.  It’s easy to imagine not only that Innogen’s speech appealed to Wodehouse, but also that two of its “hottest” words and phrases stuck in his mind, tucked away for future use.

Away! I do condemn mine ears that have
So long attended thee. If thou wert honourable,
Thou wouldst have told this tale for virtue, not
For such an end thou seek’st, – as base as strange.
Thou wrong’st a gentleman, who is as far
From thy report as thou from honour, and
Solicit’st here a lady that disdains
Thee and the devil alike. What ho, Pisanio!
The king my father shall be made acquainted
Of thy assault: if he shall think it fit,
A saucy stranger in his court to mart
As in a Romish stew and to expound
His beastly mind to us, he hath a court
He little cares for and a daughter who
He not respects at all. What, ho, Pisanio!

Cymbeline at the Stratford Shakespeare Festival

Cara Ricketts as Innogen and Graham Abbey as Posthumus in the 2012 production of Cymbeline at the Stratford Shakespeare Festival

It’s doubtful that Cymbeline has a single believable situation.  A few examples: right off the bat we meet a King who’s angry — why would any good father be angry? — with his daughter Innogen for marrying his Posthumus, a manly paragon of virtue, instead of his stepson Cloten, a drunken lout. In the middle of the play, Innogen wakes up to find herself in the mountains of western England — what were the chances? — lying next to the beheaded body of her stepbrother.

And at the play’s end, the Queen makes a death-bed confession to Doctor Cornelius that she never loved the King, was always repulsed by his body, and married him only for his position. Anyone with a shred of discretion would keep such a revelation to himself, but Cornelius rushes to blab it to the King, word for word. (Cymbeline tells everyone he never had a hint that his wife felt that way about him — who could be so oblivious?)

Geraint Wyn Davies plays Cymbeline, King of Britain

Not just the play’s plot elements, but its themes as well are incoherent.  In the final scene, Cymbeline (Geraint Wyn Davis) announces that Britain will keep paying tribute to Rome (3,000 pounds per year) even though he had just fought and won a war against the Romans over the very issue of tribute.  Not paying tribute had been a matter of principle, patriotism, and pride. As Cloten (Mike Shara) had said,

. . . Why tribute? why should we pay tribute? If Caesar can hide the sun from us with a blanket, or put the moon in his pocket, we will pay him tribute for light; else, sir, no more tribute, pray you now.

(Act III, Scene 1). Cymbeline himself was done with paying tribute:

You must know,
Till the injurious Romans did extort
This tribute from us, we were free:
Caesar’s ambition,
Which swell’d so much that it did almost stretch
The sides o’ the world, against all colour here
Did put the yoke upon ‘s; which to shake off
Becomes a warlike people, whom we reckon
Ourselves to be.

(Act III, Scene 1). Yet tribute is to be paid anyway. It’s as if George Washington, after accepting Cornwallis’s surrender and winning independence for the American colonies, had announced that the United States would go back to paying the tea tax.

The story of Cymbeline is as complicated as it is incredible. Till earlier this year, I’d made several abortive attempts to read it; I kept getting lost in the plot and the multiplicity of characters.  Finally, last winter, facing the prospect of actually seeing the play this spring, I made another essay and found smooth sailing.

This year’s production at the Stratford Shakespeare Festival shows that this relatively obscure Shakespeare play is a good tale that makes for a highly satisfying three hours of theater. There are two main storylines and several lesser ones. The first main plot deals with the efforts of Cymbeline, King of Britain (Geraint Wyn Davies) to separate his daughter Innogen (Cara Ricketts) from her new husband, who is also the King’s foster son, Posthumus Leonatus (Graham Abbey). (Confusingly, Shakespeare’s characters sometimes call him “Posthumus” and sometimes “Leonatus.”) Banished by Cymbeline, Posthumus goes to Italy (these are the days of the Roman Empire, with Caesar Augustus as Emperor). Innogen eventually leaves home, disguised as a young man, with the hope of reuniting with her husband.

Tom McCamus

Meanwhile, at a dinner in Italy (this is the second main storyline), where all the men are bragging about their women the way Don Quixote bragged about Dulcinea, Posthumus meets a smooth-talking blackguard who offers to bet that Innogen is not so chaste that he, Iachimo (Tom McCamus), cannot seduce her. Astonishingly, Posthumus not only agrees to the bet, but even gives Iachimo a letter of introduction to his father-in-law. After Iachimo returns to Italy and tricks Posthumus into thinking he’d succeeded in bedding Innogen, Posthumus dispatches his loyal servant Pisanio (Brian Tree) to take the supposedly unfaithful Innogen out into the wilderness and put her to the knife. Posthumus is soon overwhelmed with remorse, believing himself a murderer. In fact, Innogen is still alive.

We learn from Posthumus later in the play that Innogen had for some reason persuaded him to put off consummating their marriage. The playwright is thus asking his audience to believe that Posthumus would have agreed to let Iachimo take a shot at “firsties” with Innogen! However far-fetched the proposition, it lets the audience ponder the contrast between the “purity” of Posthumus’s love for Innogen with the brutishness of the two other men in the play who want her, Iachimo and Cloten (who brags to his friends that when he finds Innogen, he’ll rape her, then kill her).  Shakespeare is not for the squeamish.

My wife, who isn’t a play-reader, told me she found this show unusually easy to follow. The reason, I am sure, is that director Antoni Cimolino had faith in the play that the Bard wrote and didn’t feel bound to tinker with the complicated story or make more or less of it than the text warranted. Mr. Cimolino’s only interpolation is a striking scene at the very beginning of the play that shows Cymbeline dreaming in bed. It’s a nod to the improbability of the play’s twists and turns, which are not unlike the incongruities of our dreams, in which people often behave irrationally and illogically.

Cymbeline has a large cast, but in this production even minor characters like the Roman general Lucius (Nigel Bennett), the fugitive warrior Belarius (John Vickery), and the court doctor, Cornelius (Peter Hutt) project distinctive, complex personalities. I enjoyed all three actors immensely. When I read the play, I didn’t quite grasp that whoever plays Posthumus has the romantic lead; Graham Abbey, a good-looking chap whose physique is positively ripped, nails the part (and set my wife’s heart a-flutter). Each of these actors, not to mention Yanna McIntosh as the Queen, Geraint Wyn Davis as Cymbeline, and Brian Tree as Pisanio, are masters of the difficult art of making Shakespeare’s 400-year-old language immediately accessible.

The finest performance, to my mind, is that of Tom McCamus as the smarmy Iachimo, the Roman who makes a sport of assaulting the virtue of another man’s wife. The dinner party scene in which Iachimo prevails on Posthumus to wager on his wife’s virtue is a highlight of the show. And at our performance, the audience collectively held its breath during the erotically charged, dream-like scene in which Iachimo rises out of hiding in Innogen’s bedroom, steals a clasp from the sleeping woman, and steals a look at her person for an identifying birthmark that would convince Posthumus that Iachimo had, in fact, been intimate with Innogen.

The only performance that did not seem fully satisfactory – why, if I have a reservation about a play at Stratford, is it usually about a younger performer? – was that of Cara Ricketts as Innogen. Ms. Ricketts delivers her lines expressively and audibly, but she delivers them all at the same intense emotional level, like a pianist who plays every phrase of a Beethoven sonata agitato or appassionato.  There were scenes in which dolce or gracioso was called for.

Thanks to my friend Shelly Jansen, who has written a thoughtful doctoral dissertation on the subject, I am now aware that when Innogen finally comes back to Posthumus, she does so as a revenant, a literary type that Dr. Jansen describes as a “spectral being” returned from a kind of death, literal or symbolic. When a character like Innogen is in a revenant state, forgiveness and reconciliation can place — and in all of Shakespeare there is no “group hug” reconciliation scene quite like the one at the end of Cymbeline. Other notable revenants include Hermione, in A Winter’s Tale, and Alcestis, the title character in the play of Euripedes.

Dr. Jansen’s thesis, written last year as part of her Ph. D. work at SUNY Binghamton, is entitled For-Giving: The Economy of the Revenant. The title of every doctoral thesis must include a colon.

Richard III at the BAM Harvey Theater

We’ll probably never have a chance like this again. Within the space of a year and a half we were so fortunate as to catch three extraordinary and distinctly different productions of Richard III — most recently at the BAM Harvey Theater in Brooklyn, where the play was a showpiece for Kevin Spacey. We can report that Spacey is not only a highly accomplished classical actor, but also – no surprise – a natural-born entertainer.

The first Richard III that we saw was a August 2010 production at Shakespeare and Company, in Lenox, Massachusetts. As we noted in this post, the Lenox show seemed to us to be as much a set of varied dramatic pieces, each with its own unique entertainment value, than as a dramatized “story” – more of a “show” than what we have come to think a “play” should be. Elizabethan performances of Richard III may well have been much like this; the “quarto” edition of Richard III described the play as

The Tragedie of King Richard the third.
Conteining his treacherous Plots against his brother
Clarence: the pittifull murther of his innocent Ne-
phews: his tyrannical usurpation: with the
whole course of his detested life, and
most deserved death

This show at Lenox didn’t seem fragmented; each scene had oomph, and the total effect was intensely satisfying. Moreover, while Richard (an excellent John Douglas Thompson) necessarily had more of the spotlight than the other actors, this was emphatically an ensemble performance.

Then, in June 2011, we took in a second Richard III at the Stratford Shakespeare Festival, in Stratford, Ontario, where we see most of our Shakespeare. Perhaps surprisingly, considering that Richard was played by a woman (Seana McKenna), the director took a much more traditional approach to the play. As we noted in this post, this production, with its clear narrative and controlled emotional arc, was a character study in self-destructive behavior.

Then, in early March, we were able to catch one of the final performances of Richard III at the BAM Harvey Theater, in Brooklyn, a production that served largely to showcase the talents of Kevin Spacey.  A lot of the time, television or movie stars are cast in Broadway plays simply as box-office attractions, irrespective of acting ability, but that was obviously not the case with the star of American Beauty, who is among other things co-director of the Old Vic, the London classical theater company that was a co-producer of the production at the BAM Harvey Theater.

To say that Mr. Spacey was a “ham” would be unfair, but he dominated every scene in which he appeared, including the ones in which he mostly just stood around. His prancing, mocking, leering, sweating (lots of sweat), and boasting were endlessly entertaining, and we were riveted by the spectacle of Richard’s becoming progressively unhinged by paranoia and the corruption of boundless power. Mr. Spacey often spoke directly to the audience, making us complicit in his misogyny and sociopathic ambition. His performance was all the more impressive because of the physical demands of playing Richard with a shoulder hump, a badly deformed leg, and a severe limp.

The rest of the large cast supported Spacey well, although not many supporting actors stood out. We particularly appreciated Annabel Scholey as Anne, the new widow whom Richard artfully persuades to marry him, and Haydn Gwynne as Queen Elizabeth, who wins the rhetorical battle with Richard over whether she should help him woo her daughter, but loses the war to Richard’s superior emotional strength.

Like way too many other productions of Shakespeare these days, this Richard III was set in “modern” times. The characters wore twentieth-century clothes and used electronic technology, and the crippled Richard wore a steel brace on his leg. Mr. Spacey accompanied the lines of Shakespeare with gestures and vocal expressions that are unmistakably part of today’s Brit-American culture (and which didn’t line up with the play’s 1920s setting). The show’s lavish use of blood and gore surely owed much to the gross-out violence we’ve gotten used to in our movies.

Yet even though horses have not been part of Western warfare for 100 years, Richard was still willing, at the play’s end, to trade his kingdom for a horse! My wife says she likes contemporary touches like Mr. Spacey’s in a Shakespeare production. But we still fail to see why a play about 15th-century historical figures should not be set in the 15th century.

These three productions each nailed Richard III, but for different reasons. If you value productions of Shakespeare that try to connect Shakespeare with contemporary culture (personally, we don’t much see the point), and if you enjoy bravura acting (we love it), the BAM’s Richard III, with Kevin Spacey, was the pick of the three.

If what you value most is the language of the Bard and actors who can extract maximum meaning from a speech, the Richard III at Stratford takes the prize. Seana McKenna’s was the best acting performance of the three Richards – subtle, conniving, compelling, and complex.  She even looked the part more than either Kevin Spacey or John Douglas Thompson.

But the Richard III we’d most like to see again is the one we saw in Lenox. We felt that we’d experienced just what the playwright had in mind when, early in his career, he wrote these scenes in the life of Richard – a grand, exuberant pageant with verbal duels, rapier duels, laments, family quarrels, ghosts, shock talk, seductions, horror scenes, and buffoonery. The supporting cast in the Lenox show also succeeded best at fleshing out the distinctive personalities of each of the minor characters.

The real case for Oxford won’t be found in the movie Anonymous

In the past we’ve groused (see, for instance, this post) about how the Stratford Shakespeare Festival has flat-out ignored the Shakespeare authorship question and has snubbed those who think that Edward de Vere, Earl of Oxford, rather than Will Shakespeare, the actor and businessman from Stratford, was probably the real author of Twelfth Night and Julius Caesar.

But we can’t complain any more, because in the last several months the Festival’s boss of bosses, general director Antoni Cimolini, has been all over the subject. It is said that one of Mr. Cimolini’s distinguished predecessors in Stratford, Tyrone Guthrie, who directed the very first Shakespeare performances in Stratford in 1952, very much doubted the traditional attribution of the plays. Unfortunately Mr. Cimolino (who will be directing Cymbeline at Stratford in the summer of 2012 and is also apparently the leading candidate to replace Des McAnuff as Artistic Director after the 2013 season) doesn’t take the issue seriously.

Edward de Vere, Earl of Oxford

The reason for all this talk is that movie critics have been interviewing prominent Shakespeare people like Mr. Cimolini about the new Roland Emmerich movie Anonymous, which we’ve finally seen. Just like Shakespeare in Love, this new movie has plenty of historical characters, a few historical facts, a number of historical inaccuracies, and a wholly invented story. When we first heard about it, we hoped that it might draw attention to the real case for the Earl of Oxford. Unfortunately, Anonymous — whatever its merits in strictly cinematic terms, on which we express no opinion — is downright counter-productive on the authorship question.

In the movie, the Earl of Oxford (1550-1604), portrayed by Rhys Ifans, is in the closet as a playwright because it doesn’t befit a nobleman to be mixed up with theater. By the early 1590s, Oxford has written one unperformed play after another, tied them up in neat bundles, and piled them on a shelf — Henry V, As You Like It, Julius Caesar, and plenty more. He writes compulsively.  His wife, frustrated because he neglects his other affairs, comes into his library and says, “Writing plays again? You promised!” (The producers clearly didn’t blow their budget on screenwriters.)

The actor Rhys Ifans, who plays Oxford

Oxford wants to see his plays performed, and fortune delivers into his hands a chance to blackmail Ben Jonson into making it happen. Oxford insists that Jonson put his name to Henry V, but Jonson doesn’t want credit for it and arranges for an vain, illiterate actor named Will Shakespeare to claim authorship instead. The play is a smash, and at the final curtain, when the audience cries “Author, author!” (surely audiences didn’t do that back in 1593!), the oafish Shakespeare comes forward to accept applause. As more of Oxford’s plays are produced, Will Shakespeare continues to take credit. Oxford’s stash still hasn’t given out when he dies in 1604, so “Shakespeare” plays continue to be brought forth for years to come.

But there’s more. It seems (in the movie) that Edward de Vere was the bastard son of Queen Elizabeth, secretly raised and educated as a nobleman’s son. Later, de Vere has an affair with the Queen (his own mother, though neither knew it!), resulting in the birth of the Earl of Southampton, whose mother is thus also his grandmother.

The movie gives Stratfordians new pretexts for piling ridicule on Oxfordians and for ignoring the real case for Oxford. It’s “snobbery,” says Stephen Marche in the New York Times, for Oxfordians to insist that a glovemaker’s son from Stratford with a grammar school education could never have become a brilliant writer. Mr. Cimolini piles on in the Toronto Globe and Mail: “inherent snobbery.”

But (and I think I speak for most Oxfordians) this isn’t the Oxfordian argument at all. Who actually insists that Will Shakespeare was an illiterate bumpkin, as one of the characters in the movie says he was? A few Shakespeare doubters may think that, but most of us don’t. Why shouldn’t such a man have gotten a decent education? And of course Oxfordians recognize that men and women with little formal education can come to write timeless literature.  We just don’t think Will Shakespeare was one of those persons. “Snobbery” is a classic “straw man” argument.

”The

Then there’s the “conspiracy” card. J. Kelly Nestruck, who reviews theater in the Globe and Mail, says that he “made the leap from ambivalence” about Shakespeare authorship to “ardent defender of the Bard of Avon” when he met somebody who not only believed that William Shakespeare did not write the plays, but who also turned out to be a “truther” — one of the paranoid screwballs who think the Twin Towers were brought down by George W. Bush and the Jews. Nestruck charitably lumps Oxfordians with some of the better-known examples of ignorance and hatefulness: “Shakespeare denial is part and parcel of a dangerous, anti-rational mode of thinking,” a “gateway drug” to becoming a Truther, a Birther, and a believer in The Protocols of the Elders of Zion.

What rot! Emsworth, who is willing to bet that he’s read a lot more of Richard Hofstadter than J. Kelly Nestruck ever has, and who firmly resents the imputation of anti-intellectualism, can’t think of a single conspiracy theory, from “who shot JFK” to ” who fixed the Super Bowl” that he ever bought into.

This is just changing the subject. As a class, we Oxfordians aren’t suckers for conspiracies. How exactly it happened that Oxford didn’t take credit for the Shakespeare plays and sonnets, we don’t know, but we doubt very much that it was anything like the elaborate conspiracies postulated in Anonymous. The movie recycles several of the least likely of the speculative scenarios that have cropped up around Oxford and the question of authorship and gives Stratfordians plenty to mock. There’s no historical evidence that the Virgin Queen was actually a promiscuous slut or ever had any bastard children, but in any event why should the love life of Queen Elizabeth or the parentage of Henry Wriothsley, Earl of Southampton, have anything to do with the question of who wrote Hamlet? The movie leaves viewers with the false impression that to believe in Oxford’s authorship of the “Shakespeare” plays is to buy into an imaginative set of wildly improbable conspiracy theories. We assure anyone who’s actually interested in the subject that it’s not necessary.

Then there’s the crude slur that to doubt the Stratford man is to have a screw loose. Stratfordians generally begin talking about Shakespeare authorship by sneering about the name of one of the early Oxfordians (Mr. Marche is typical: “the aptly named J. Thomas Looney”), and some them have wasted a lot of ink over the last few months on amateur psychoanalysis of the supposedly paranoid tendencies of people who would doubt something so “incontrovertible” as the notion that the man from Stratford wrote Hamlet. James Shapiro, the writer of a generally interesting book about the history of the Shakespeare authorship question (see this Emsworth comment) is one of the quickest to impugn the mental stability of authorship doubters.

Sadly, the public comments of our Stratford man, Mr. Cimolino, over the last several months don’t suggest that he’s actually reviewed the substantive case for Oxford. He asserts in the Globe and Mail that there is “in fact no evidence to connect Oxford with the plays, and no reason to suppose that anyone other than Shakespeare wrote them. To which Oxfordians retort, ‘Of course not: Oxford deliberately deliberately hid his authorship.'” No, Mr. Cimolino, that’s not what we say.  True, there’s no “smoking gun,” no single, irrefutable document that conclusively proves the case for Oxford.  But there really is plenty of evidence, much of which is reviewed, very soberly and with considerable erudition, by such organizations as the Shakespeare Authorship Coalition (here’s its website) and the journal Brief Chronicles (here’s its website).  Viewing it as a whole, we find it persuasive.

No doubt Mr. Cimolino did not set out intentionally to insult the many patrons of the Stratford Shakespeare Festival who doubt the authorship of the Stratford man, and we’re slow to take offense.  But we invite him to take a closer look.

We preview the Stratford Shakespeare Festival’s 2012 season

The Stratford Shakespeare Festival (Stratford, Ontario) will be celebrating its 60th season by cutting its Shakespeare offerings down to three plays, plus a version of Macbeth using characters from The Simpsons. Overall, it’s a disappointing 2012 playbill. Still, in order of interest, these are the shows that interest us the most:

1. Shakespeare’s Much Ado About Nothing (at the Festival Theater)

Much Ado About Nothing figures to be the best Shakespeare of the season. Ben Carlson, one of the finest classical actors we’ve seen anywhere, will play Benedict, and his wife Deborah Hay will appear as Beatrice. Since he’s been at Stratford, Mr. Carlson’s been as good as they get as Hamlet, Brutus, Leontes, Touchstone, and Alceste (in last season’s The Misanthrope). The question is whether Ms. Hay can match him in Shakespeare. At the Shaw Festival she stood out as a comic actress, but she was also terrific three years in a more nuanced role in Terence Rattigan’s After the Dance (see this Emsworth post).

If you haven’t noticed, Shakespeare’s five most popular comedies are in a rotation of sorts at the Stratford Festival; it’s comforting to know that it won’t be long before you can see one of your favorites. We’ve had

The Taming of the Shrew (2003)
A Midsummer Night’s Dream (2004)
As You Like It (2005)
Twelfth Night (2006)
Much Ado About Nothing (2006)

The Taming of the Shrew (2008)
A Midsummer Night’s Dream (2009)
As You Like It (2010)
Twelfth Night (2011)

It was therefore predictable that Much Ado About Nothing, which is indeed a favorite of ours, would be on the marquee in 2012. It will be directed by former Shaw Festival Artistic Director Christopher Newton, who has said the play will be set in Brazil.

2. Shakespeare’s Cymbeline (at the Tom Patterson Theater)

We’ve tried and failed several times to read Cymbeline, but it’s always seemed too hard to follow. So we’re hoping this show will bring to life a Shakespeare play that hasn’t worked for us in print. Stratford productions have done this for us before — we’re thinking especially of Troilus and Cressida (2003) and Two Gentleman of Verona (2010).

We don’t claim to understand Cymbeline‘s plot, which is the complicated story of a young woman who marries against her father’s will. Geraint Wyn Davies will play the title role, and Cara Ricketts will play his daughter Imogen. Despite its uncomfortable seats, the Tom Patterson Theatre is still our favorite place to see Shakespeare.

3. 42nd Street (at the Festival Theater)

We were startled to realize that 42nd Street was not from the golden age of Broadway musicals. We’d seen the ’30s movie and assumed wrongly that it was based on a musical play. In fact, 42nd Street wasn’t staged until 1980; it won the Tony as best musical play in 1981.

The story of 42nd Street is a show about a show, with cliches that were endlessly recycled in old movie musicals; a chorus girl, Peggy Sawyer, is canned for messing up, but is rehired to take the place of an injured star. Interestingly, the Stratford Festival has yet to announce who will play Peggy Sawyer. [1-23-12 update: it’s been announced that Jennifer Rider-Shaw, a young singer who was part of the company in Jesus Christ Superstar last year, has been given the part.] But long-time Stratford favorite Cynthia Dale will be returning to play Dorothy Brock, the injured leading lady whom Peggy Sawyer replaces. Gary Griffin, who directed the phenomenal West Side Story at Stratford three years ago, will be in charge.

The show uses one of Emsworth’s all-time top-ten favorite pop songs, “I Only Have Eyes for You.” This tune was not in the 1933 movie, but was instead written by the same songwriting team of Harry Warren and Al Dubin for another show, Dames, a year later. Other songs in 42nd Street include “Lullabye of Broadway” (which wasn’t in the 1933 movie either) and “You’re Getting to Be A Habit With Me.” June 2012 update: “I Only Have Eyes for You” wasn’t used in the show after all! But the show as a whole was dazzling entertainment.

4. Electra (by Sophocles, at the Tom Patterson Theater)

Another shot at classical Greek tragedy! We have shamefully little experience either seeing or reading the ancient Greek poets. Three years ago at Stratford we did see a play by Euripedes, The Trojan Women, which like Electra was written about 400 years before the birth of Christ, but we didn’t know what to make of it and didn’t feel confident enough to blog about it. We still find it mind-boggling to think that these dramas have been preserved for 2500 years.

In a way, Electra is a sequel to The Trojan Women. In the latter play, the Greek king Agamemnon and his men have burned Troy and carried off their women. In Electra, the Greeks are back home after the Trojan wars, but Agamemnon and his new Trojan concubine Cassandra have been murdered by his wife Clytemnestra (as predicted by Cassandra in The Trojan Women). Agamemnon’s daughter Electra is unhappy about the murder of her father, and she and her twin brother Orestes set about to revenge their father by slaying their mother. Good times!

In the plays of Shakespeare, Bernard Shaw, and Arthur Miller — that is, in modern theater — the characters have more or less realistic conversations with one another. There was none of that in The Trojan Women, which consisted mostly of protracted laments by angry women, plus speeches by the gods. There probably won’t be any snappy repartee in Electra either. But it’s a different genre; we’ve gathered that ancient Greek tragedy is as different from modern theater as modern theater is from opera.

5. The Matchmaker (by Thornton Wilder, at the Festival Theatre)

Bernard Shaw and Tennessee Williams wrote novels too, but nobody reads them. Thornton Wilder is on the short list of writers who have been as successful writing stories and novels as they have writing plays. In fact, we just read and enjoyed Wilder’s late novel The Eighth Day this fall.

Everyone knows and loves Wilder’s Our Town, but The Matchmaker, which we enjoyed about ten years ago at the Shaw Festival, is every bit as entertaining, and funnier. This is the play on which the musical Hello, Dolly! was based. The wonderful Seana McKenna will play the matchmaker, Dolly Levi.

6. Henry V (by William Shakespeare, at the Festival Theatre)

Emsworth ungraciously announced a year ago that he did not intend to buy any more tickets for Shakespeare plays directed by Stratford Artistic Director Des McAnuff. Faithful to that vow, we boycotted the McAnuff-directed Twelfth Night last summer, even though it’s one of our very favorite Shakespeare plays (see this list), and even though it was apparently popular with Stratford audiences. We were told by reliable friends that we did well to skip it. We don’t doubt that Mr. McAnuff sincerely loves Shakespeare, but he clearly doesn’t have faith that a Shakespeare play can stand on its own without gimmicks like the sixties-style rock songs that (report has it) repeatedly interrupted the story of Twelfth Night last summer.

But what could Mr. McAnuff possibly do to ruin Henry V? It’s a play about a historical English king, set unambiguously in a definite time and place in history. So surely he won’t re-imagine it as a fascist fable (as he did with As You Like It a couple of years ago) or set it in Africa (as he did with the Scottish play, Macbeth, a year before that). Fortunately, our vows are not as inviolable as Lear’s, which he “durst never” break (King Lear, Act I, Scene 1). We’ve never seen Henry V on stage, and we badly want to.

It’s disappointing that Ben Carlson wasn’t cast as Henry V. Mr. Carlson is of suitable age for the role now, but he won’t be the next time the Stratford Festival mounts Henry V, in another ten years or so. The part has been given instead to Aaron Krohn; Mr. Carlson will be relegated to the minor role of of the Welshman, Fluellen. Lucy Peacock will adorn the role of the Hostess; we’ll be glad to see Tom Rooney as Pistol.

7. A Word or Two (readings/recitations by Christopher Plummer, at the Avon Theater)

A year ago we expressed the hope that Christopher Plummer would return to Stratford in 2012 to play the Duke in Measure for Measure. Mr. Plummer is indeed coming back to Stratford, but to give a solo program of readings and recitations. It’ll run for only a month, from late July to late August.

No doubt these readings will be memorable. But we are seriously put off by the fact that tickets for this one-man show will be about 30 percent more expensive than tickets for, say, Henry V, which will have castles full of courtiers and battlefields full of armies.

8. The Pirates of Penzance (operetta by Gilbert & Sullivan, at the Avon Theatre)

Wonderful tunes, clever lyrics. The Pirates of Penzance is the farcical story of a young man whose nurse accidentally apprentices him to a band of pirates, to whom he is bound until his 21st birthday. But Frederic was born on February 29, so unfortunately he won’t hit 21 for a while. It’s all very entertaining, but we’ve come to think of Gilbert & Sullivan as community theater material and aren’t likely to add this show to our bundle of tickets.

9. You’re a Good Man, Charlie Brown (musical play based on Charles M. Schulz’s Peanuts, at the Avon Theatre)

Surely they jest.

10. MacHomer at the Studio Theatre)

Homer Simpson and family do Macbeth. Here’s more evidence that the management at the Stratford Shakespeare Festival doesn’t have faith in its core product. This show will play only during May, while the schools are still in session and English teachers are still bringing their students to Stratford. After all, why should the kids have to suffer through Much Ado About Nothing? Give ’em something they’ll understand! And something that’ll make ’em laugh!

Other shows: Hirsch (by Alon Nashman and Paul Thompson, in the Studio Theatre); The Best Brothers (by Daniel MacIvor, in the Studio Theatre); Wanderlust (by Morris Panych, in the Tom Patterson Theatre)

The play called Hirsch is about John Hirsch, who was Artistic Director of the Stratford Festival for five years about 30 years ago. We’re not uninterested in the history of the Stratford Festival (see this post), but this seems a stretch.

The Best Brothers is a world premiere by a Canadian playwright, described as the story of a couple of brothers coming to grips with the death of their mother.

Wanderlust is a new musical play written by the Canadian playwright and director Morris Panych. It’s advertised as based on the poems of Canadian poet Robert W. Service. Like Jack London, Service wrote a good deal about the gold rush in Alaska and the Yukon in the early 20th century, and that’s what this story is about. Tom Rooney will take the role of the poet.

As You Like It at Shakespeare & Company (Lenox, Mass.)

Delighted with the Richard III we’d seen in 2010, we went back to Lenox, Massachusetts a week ago to see Shakespeare & Company’s As You Like It. This was Shakespeare without gimmicks — lively, well-acted, well-directed, and low-tech, done by people who weren’t afraid the play itself wouldn’t be enough to entertain an audience. We couldn’t have spent our afternoon better, and the rest of the smiling audience apparently thought as we did.

Orlando (Tony Roach) and his brother Oliver (Josh Aaron McCabe) come to blows in the opening scene. Faithful servant Adam (Malcolm Ingram) is shocked.

The story of As You Like It is fundamentally frivolous, and this company didn’t try to make the play carry more than it could. For many years we had trouble appreciating the Shakespeare comedies; the humor depends so much on now-obsolete turns of phrase. But in this show the gags and laugh lines seemed spontaneous and fresh.

Bare-chested Orlando (Tony Roach) prepares to vanquish the wrestler Charles (Kevin O'Donnell); Rosalind (Merritt Janson), spectating, is smitten.

This play is, we now realize, a love story. We don’t mean the infatuations that flare up like dry grass between Rosalind and Orlando, Celia and Oliver, and the jester Touchstone and the country wench Audrey; we mean instead the solid, sisterly love betweeen Rosalind (Merritt Janson) and Celia (Kelley Curran). Their rapport was transparent; we had no difficulty believing that the affectionate Celia would leave her cushy life at the court to accompany her boy-crazy cousin into exile. Rosalind and Celia will always be best friends, but who would think that the romance between Rosalind and the over-serious, gullible Orlando (Tony Roach), writer of bad love verses, would survive much past their honeymoon?

These actors mined their lines for all they were worth. You may think you know the play, but did you realize that minutes after Rosalind met Orlando, she told Celia that she wanted to have his baby? (It’s ten lines into Act I, Scene 2.) You would if you’d seen this production, and a lot more. And the sight gags were superb. “Liberty” is, of course, one of the play’s great themes — both Rosalind and Jacques rhapsodize about it. But we were struck helpless when, at just the right moment, and for just a split second, Ms. Curran pantomimed the Statue of Liberty. For actresses playing Celia/Aliena, one of the big challenges must be figuring out what to do during the several long scenes in which the character is on-stage without any lines. In Act III, Scene 2, Ms. Curran solved the problem with a rapid-fire series of hilarious, dead-on pantomimes of Rosalind/Ganymede’s descriptions of how she was to cure Orlando of his love-madness.

Director Tony Simotes took especial care to connect the action and the dialogue, sometimes in unexpected ways. In Act II, Scene 3, for instance, Celia calls to Rosalind and Touchstone: “I pray you, bear with me; I cannot go no further.” Touchstone responds with one of the rare Elizabethan puns that still works after 400 years: “For my part, I had rather bear with you than bear you.” In this show, however, Touchstone has already come onto the stage bearing Celia on his back. Later, as the “All the world’s a stage” monologue comes to a close, Orlando helps the old, infirm Adam onto the stage just as the lines “second childishness and mere oblivion/Sans teeth, sans eyes, sans taste, sans everything” are spoken.

Rare is the Shakespeare director who can resist the urge to try something “different” with a familiar play, and Mr. Simotes is apparently not such a director. The novelty in this show was the casting of the philosophic, monastic, misanthropic Jacques as a woman — and not just a woman, but a lesbian with an unrequited passion for Celia/Aliena, which she conveyed through longing glances and gestures. (Celia/Aliena rejected her overtures with an appreciative but it-can-never-be smile.) The gender of Jacques, who wore an androgynous black suit, confused the other characters as well as the audience; a bemused Touchstone (Jonathan Epstein) kept referring to Jacques as “him, or her, or whatever.”

Tod Randolph as Jacques

The main thing in favor of Ms. Randolph’s casting as Jacques was that it afforded an excellent actress an chance at a role otherwise reserved for men. We surely enjoyed her intelligent, witty delivery of some of the play’s best lines. (This was the second fine performance by a woman in a man’s role that we saw this summer; the other was Seana McKenna’s Richard III at the Stratford Shakespeare Festival.) It could also be said that conceiving Jacques as a lesbian in a society in which same-sex romances are beyond the pale helps to explain why Jacques is practically the only major character in As You Like It without a romantic partner. Or perhaps it could be said that the erotic attraction of Jacques to Celia served as a foil for the platonic affection between Rosalind and Celia.

On balance, though, this was a variation we could have done without — not having a woman play Jacques, but the conversion of Jacques into a lesbian. We are not of the school that insists that the literature of bygone years needs to be reinterpreted or “corrected” to reflect twenty-first century notions of sexuality.

Johnny Lee Davenport as Duke Senior in the Forest of Ardenne

We were very glad to see several actors we’d seen in Lenox the previous year in Richard III, including Ms. Randolph. Among the most striking feats in this show was Johnny Lee Davenport’s portrayal of both the bad Duke Frederick and his banished brother. In manner and speech, his two characters could hardly have been more contrasting; it hardly seemed possible that both the brutal Duke who banished his niece from court and the mellow, gracious Duke who welcomed Orlando to the Forest of Arden were played by the same actor. Mr. Davenport gained a spot on our list of favorite Shakespearean actors with his delivery of one of our favorite speeches in all Shakespeare: the good Duke’s ode to the pastoral life.

The star of this As You Like It was the winsome Merritt Janson, who played Rosalind as a hyper-active, quick-witted, playful bundle of sexual energy. But we are still looking for our ideal Rosalind. Ms. Janson hardly varied her tempo, and she delivered too many of her lines with the same inflections. We enjoyed Kelley Curran, as Celia/Aliena, very much, and not just for her physical comedy. And we surely hope to see Jonathan Epstein, a top-drawer veteran actor who played a superb Touchstone, in other Shakespeare roles.

Before the show, we (Emsworth and both the eldest and youngest of his three lovely, accomplished daughters) visited the former home of Shakespeare & Company at The Mount, a restored mansion that was designed and built by Edith Wharton in 1902. The Mount is only a mile or so from Shakespeare & Company’s current home at a private boys’ school. Its gardens are lovely. We couldn’t quite figure out where the plays were staged.

The Misanthrope at the Stratford Shakespeare Festival

Sara Topham as Célimène and Ben Carlson as Alceste

(August 2011) Looking around the nearly full Festival Theater just before the play was to begin, we wondered how many folks had bought their tickets for The Misanthrope especially to see Stratford Festival icon Brian Bedford direct and act. Could a seventeenth-century French playwright really have such an impressive fan base? Mr. Bedford was unfortunately a scratch, unable to direct because his The Importance of Being Earnest was still running on Broadway, then unable to perform because of medical issues.

We wouldn’t say that Mr. Bedford wasn’t missed, but this offering of Molière’s 350-year-old comedy was just fine without him.  Molière’s own productions couldn’t have been much more entertaining.  What struck Emsworth was that some in the audience were tickled by certain lines, and some by others.  From the beginning of the play to its end, pockets of half-suppressed laughter were continually erupting in random parts of the theater.

The cast of The Misanthrope

The play is a satire on the society of Molière’s time (although the set and the costumes suggest the mid-1700s, a hundred years after Molière).  The play’s hero, Alceste (Ben Carlson) has lost his patience with his friends because they flatter an acquaintance to his face, then savage him behind his back. “How else are people to behave?” his friend Philinte wonders. Alceste’s sanctimonious reply:

I’d have them be sincere, and never part
With any word that isn’t from the heart.

Alceste declares misanthropically that he wants to go off to live in the wilderness where he’ll be alone and won’t have to endure the hypocrisy anymore.

We see the sort of thing that riles Alceste early in the play when one of his friends, Oronte (Peter Hutt, in the supporting role Brian Bedford would have played), asks Alceste for an “honest” critique of a dreadful love sonnet that he has penned.  Knowing that Oronte merely wants to be flattered, Alceste demurs, but when Oronte insists, Alceste pulls no punches.  This scene alone is worth the price of admission; Ben Carlson is masterful and outrageously funny.

The set for The Misanthrope represented a Parisian salon with panel paintings in the style of François Boucher (1703-1770). This Boucher is from a set of salon paintings in the Frick Collection (New York City) entitled The Four Seasons (Spring)

The play is set in the heavily patronized Paris salon of Célimène (Sara Topham), a young widow with whom Alceste is in love.  Alceste is unfortunately handicapped as a lover by his inability to keep from scolding Célimène for her flirtatiousness and for her biting character sketches of absent acquaintances.  Not to be missed are the verbal fireworks between Célimène and her moralistic “friend” and rival Arsinoé (the indispensable Kelli Fox). Célimène goads her older rival:

When all one’s charms are gone, it is, I’m sure,
Good strategy to be devout and pure.

By the second half of the play, we realized that what initially seemed a fairly simple storyline (much talk, seemingly little action) was in fact multi-layered and complex; this is a very cleverly plotted play. Will Célimène’s romance with Alceste be undone by her two-faced behavior, and if so, who will be mated with whom? The outcome is in doubt to the end.

The catfight between Célimène and Arsinoé, and the social milieu of malicious gossip, brought to mind scenes in Clare Boothe Luce’s The Women, which we saw at the Shaw Festival last summer.  Luce’s 1936 play surely owes much to The Misanthrope.

One notices right away that the dialogue of The Misanthrope is in rhymed verse. Director David Grindley chose Richard Wilbur’s acclaimed 60-year-old translation, which still sounds fresh. What skill it must take not merely to translate rhymed French poetry into English, but to translate it into rhymed English poetry! It took us a few minutes to adjust to the verse; once you catch the first several rhymes, you start to listen for them, but soon you realize that you’re missing the meaning by concentrating on the wrong thing.

Ben Carlson as Alceste

Rhymed verse makes demands on performers as well. Some of them — notably Ben Carlson, Peter Hutt, and especially Kelli Fox, handle Molière’s/Wilbur’s poetry effortlessly, letting the rhymes peek out and take you by surprise, instead of pounding you over the head with them.  It’s the same technique that they’d use for delivering Shakespeare, where an actor needs ever so gently to convey the rhythm of the blank verse, without indulging in overt pauses at the end of the lines.

Not all the actors fare so well, especially Sara Topham, whose unsubtle, sing-song delivery of Célimène’s lines reminded me a little of an eighth-grader reciting Longfellow. Trent Pardy’s Acaste (another suitor for Célimène’s attentions) was little better.  Truth be told, we’re not sold on Sara Topham, although her star seems to be high at Stratford these days.  She looks very well, but she still hasn’t learned how to vary her delivery or to project her voice without straining; by the end of our show it wasn’t pretty.

Alceste was the second on-stage misanthrope we’d encountered within a month; there’s another at the Shaw Festival this summer in My Fair Lady. Neither Henry Higgins (the central character in My Fair Lady, based on Shaw’s Pygmalion) nor Molière’s Alceste is willing to make himself agreeable to others. Alceste justifies himself on the ground that he alone is honest and sincere; Henry Higgins does not bother to justify himself at all.