SHAKSPER | Current Postings

Desdemona Unpinning

shaksper@shaksper.net (Hardy Cook) — Tue, 18 Jun 2013 16:28:09 +0000

The Shakespeare Conference: SHK 24.0299 Tuesday, 18 June 2013

From: Scott Shepherd <skot@pobox.com>

Date: June 17, 2013 9:15:12 PM EDT

Subject: Desdemona Unpinning

What exactly is happening, clothingwise, in the unpinning scene? Do we know?

EMI Shall I go fetch your nightgown?

DES No, unpin me here.

What does “here” mean here?

The room or a place on her costume?

Is foregoing the nightgown unorthodox?

Does it connote something?

What is she left wearing when all the unpinning is done?

And what are the “these” of “lay by these”?

Who is it that can inform me?

‘A Midsummer Night’s Dream’ in Different Looks and Cities

shaksper@shaksper.net (Hardy Cook) — Mon, 17 Jun 2013 14:57:43 +0000

The Shakespeare Conference: SHK 24.0298 Monday, 17 June 2013

From: Hardy Cook <editor@shaksper.net>

Date: June 16, 2013 9:43:10 AM EDT

Subject: ‘A Midsummer Night’s Dream’ in Different Looks and Cities

Interesting as we are looking at summer Shakespeare plays and festivals, I saw the following article in yesterday’s New York Times, from which the excerpt below was taken.

Is anyone planning in participating in the RSC Google+?

Hardy

*********

From the New York Times online:

http://theater.nytimes.com/2013/06/16/theater/a-midsummer-nights-dream-in-different-looks-and-cities.html?emc=eta1&_r=0

June 13, 2013

What Creators These Mortals Be

By Steven McElroy

Chances are you’ve either seen it or have been in it. “A Midsummer Night’s Dream” is sort of like the Shakespearean “Godspell” in that sense. And not unsurprisingly, the summer is a particularly vibrant time for productions of the comedy, which works well in an outdoor setting — what with those enchanted fairy-filled woods outside Athens, where lovers’ woes are mystically resolved.

“There is no question there is something deeply magical about sitting in a theater as the sun is setting, and the play is changing with that sunset,” said Charles Fee, whose production of the play will open this summer at the Lake Tahoe Shakespeare Festival in Nevada.

“Midsummer” lends itself to nontraditional treatments, and the art of directorial tinkering is probably almost as old as the script. The Royal Shakespeare Company and Google Creative Lab are teaming up on a part-live, part-Internet production — the epitome of updates — that is but only one of many intriguing interpretations this summer.

Here several of those overseeing these productions talk about their renditions of “Midsummer,” describing how they have conceptualized their productions; what take they’ve chosen for the fairy Puck, that “merry wanderer of the night”; and just what about “Dream"continues to draw our attention.

Colorado Shakespeare Festival

Through Aug. 11

Mary Rippon Outdoor Theater, University of Colorado, Boulder; coloradoshakes.org

Directed by Geoffrey Kent

CONCEPT Set in the Jazz Age, this outdoor production will have a “Downton Abbey” feel. Mr. Kent said this choice makes thematic sense since the 1920s were the era of women’s suffrage, and the play partly deals with a young woman wanting to marry the man of her own choosing, not of her father’s.

PUCK The veteran character actor Lawrence Hecht is an unusual choice for the impish sprite. “He’s a laborious, slow-moving Puck, who’s got a bad back and bad knees and a bad neck,” Mr. Kent said. “He’s a like an aging Teamster fairy who cannot be fired but works at his own pace.”

Mr. Kent has cast Hermia against type too: Jenna Bainbridge is partly paralyzed from the waist down and walks with a decided limp.

POPULARITY “The other comedies are laced with history jokes and jokes on the reign of the current queen,” Mr. Kent said. " ‘Midsummer’ doesn’t have any of that. You don’t need footnotes to understand why it’s so funny.”

Royal Shakespeare Company and Google Creative Lab

Friday Through June 23

Online at Google+

Directed by Gregory Doran

CONCEPT This online version of “Midsummer” will unfold in real time across the weekend. Participants — audience members sounds too passive — can interact with characters . . . on Google+; create ancillary characters; share thoughts on the play; and engage with the production in other ways. But fear not, traditionalists; “the heart of the play is still the play, and it was important to us to preserve that,” said Geraldine Collinge, director of events and exhibitions for the RSC.

PUCK “He’s the only character that we’re allowing to play across the Internet,” as well as be shown in the more traditional live portion of the production, said Tom Uglow, director of Google Creative Lab (during an interview on Google Hangouts, appropriately enough). Participants will be able to interact with Puck’s online presence.

POPULARITY The play’s still the thing, though given that this is a Royal Shakespeare Company production at heart, the text is still important. “It’s got a mixture of comedy and seriousness, and it does address our times,” Ms. Collinge said. Besides, “In how many plays do people get turned into donkeys?”

International Festival of Arts & Ideas

Through June 23

University Theater, 222 York Street, New Haven; artidea.org

Directed by Tom Morris

CONCEPT This production comes to the United States from Bristol Old Vic in England, in association with the Handspring Puppet Company of South Africa, the same team behind the 2011 Tony Award-winning “War Horse.” Inspired by the setting of Athens, the world’s first democracy, Mr. Morris has set this “Midsummer” in a chaotic, futuristic world, he said, where “there is an impulse through the course of the play toward civilization.”

PUCK Naturally the show features puppets, and Puck is made of wood and metal. “In some ways he’s a Bunraku-style puppet operated by three puppeteers,” Mr. Morris said. Unlike a sprite portrayed by a human actor, this Puck can fly and fall to pieces, Mr. Morris said, adding, “He doesn’t quite have people waiting for him at the stage door, but he’s the character people are talking about after the play.”

POPULARITY “A lot of our lives are based on a theory that when we go to bed on, say, a Wednesday, we wake up on a Thursday, and we are the same person,” Mr. Morris said. “But we know that really we might go to bed on Wednesday in love with one person and wake up Thursday either not in love or in love with someone else. We all recognize that experience.” The play is a “beautiful, wise, crazy articulation of that conundrum.”

Nashville Shakespeare Festival

Aug. 15-Sept. 15

Centennial Park Bandshell; nashvilleshakes.org

Directed by Denice Hicks

CONCEPT Set in Nashville now, this green production features costumes made from recycled materials. The concept is partly inspired by references in Act II, Scene 1, during an argument between Oberon and Titania, the king and queen of the fairies, that today sounds an awful lot like allusions to global warming. As Titania says:

The spring, the summer,

The childing autumn, angry winter change

Their wonted liveries; and the mazed world,

By their increase, now knows not which is which.

PUCK He will have horns, but he will also wear a hoodie. “There’s a real negative movement against hipsters lately, and I’m kind of interested in that,” Ms. Hicks said. “What’s wrong with hipsters? They keep our coffee shops running.”

POPULARITY The ferocity of the lovers’ battles still resonates today, and “the humor of the amateur actors as they try to put their play together is still really, really fresh,” Ms. Hicks said. “There’s great advice for life and art within this play.”

The Old Globe

Through Sept. 29

Lowell Davies Festival Theater, Balboa Park, San Diego; theoldglobe.org

Directed by Ian Talbot

CONCEPT “Midsummer” opens with a father angry enough to sentence his daughter to death if she refuses to marry the man of his wishes. “I’ve set it in the Victorian era because that’s an era when female emancipation hadn’t happened,” Mr. Talbot said. “I think it was a sexist world.”

PUCK While the fairy world in the production is dark — like that of the Lost Boys in “Peter Pan” — Puck is still playful and “brings Oberon out of his dark moments,” Mr. Talbot said. “I equate Puck’s relationship with Oberon to the fool in ‘Lear.’ ”

POPULARITY The romance is timeless: “When you get to a certain age, you think back to youthful love, that thrill of the initial feeling of being committed to someone,” he said. “The wallowing about emotion and true love is something that we all enjoy.”

Shakespeare & Company

July 20-Aug. 17

The Dell at the Mount, Edith Wharton’s Home, 2 Plunkett Street, Lenox, Mass.; shakespeare.org

Directed by Jonathan Croy

CONCEPT Seven young actors who have been through the theater’s training programs play all the parts in this 90-minute version. The setting is “sort of this side of Napoleonic,” Mr. Croy said. “These are people who could have sprung full-blown from a Jane Austen novel in the way that they express themselves, in the way they seem to feel things, in the way the poetry becomes a metaphor for the size of their feelings.”

PUCK A woman (Annie Considine) plays the role, and four others, in the production. One of the interesting benefits, Mr. Croy said, is “the ways that the different characters reveal things about each other when they come from the same actor.”

POPULARITY “I honestly believe ‘Midsummer’ is the most perfectly constructed comedy ever written,” Mr. Croy said. “Anything that’s similar that seems stale or tired is because of the literally hundreds of years of people stealing from it.”

Lake Tahoe Shakespeare Festival

July 12-25

Sand Harbor State Park, Incline Village, Nev.; laketahoeshakespeare.com

Directed by Charles Fee

CONCEPT The 1960s setting includes paisley and leather in the costumes and a Volkswagen Beetle, right, on the outdoor set. Mr. Fee, who is artistic director at the Great Lakes Theater Festival, the Idaho Shakespeare Festival and Lake Tahoe, has employed the concept before, but he said he finds it rewarding to return to familiar ground.

“We begin in 1960s Athens, in a very rigid world,” he said. “It’s a little bit like a magical mystery tour. We go out into the woods, and we have drugs put in our eyes, and we see things completely differently. It’s a bit psychedelic.”

PUCK Expect a bit of Jimi Hendrix. “When I was 10 it was 1968, and I lived in San Francisco, and the fact is, he looks like one of the Merry Pranksters,” Mr. Fee said. “He’s beginning to follow a kind of guru, a sort of maharishi figure in Oberon, but he’s like the guys I saw in the city in the late ‘60s.”

POPULARITY The battles for love connect with audiences, Mr. Fee said, and the play features such a wide spectrum of characters that every attendee is in some way represented on stage. “The poetry is exquisite, and the comedy is low and very, very bawdy,” he said.

Economist Review of Whedon’s New Much Ado

shaksper@shaksper.net (Hardy Cook) — Mon, 17 Jun 2013 14:46:45 +0000

The Shakespeare Conference: SHK 24.0297 Monday, 17 June 2013

From: Mari Bonomi <pootersox@gmail.com>

Date: June 16, 2013 1:23:00 PM EDT

Subject: Economist Review of Whedon’s New Much Ado

A complimentary review of the newest version of Much Ado:

http://www.economist.com/blogs/prospero/2013/06/new-film-much-ado-about-nothing

Mari Bonomi,

who will have to wait for the Blu-Ray or for Netflix/Hulu Plus to see it, since there are no movie theatres around here w/in an hour.

The following is from the Economist online.

New film: “Much Ado About Nothing”

Blithe and bonny

Jun 14th 2013, 11:29 by F.S.

IF Joss Whedon, a film director, demonstrated extraordinary skill with his hugely successful 2012 blockbuster “The Avengers”, it was less for his understanding of superheroes than for his ability to work an ensemble cast so that each actor shines. It is a skill he employs to equal effect in the film “Much Ado About Nothing”, his carefree but not careless adaptation of what is perhaps the Bard’s greatest comedy. Productions of this play tend to concentrate on the would-be lovers Benedick and Beatrice almost to the exclusion of all else. But here the wit and tragedy of the other stories join them on centre stage, and the film is all the better for it.

Set in modern-day California and shot in black and white, the film was independently funded and shot in just 12 days at Mr Whedon’s own home. Most of the original text has made it into the script. The players have been invited for a weekend masquerade party that involves drinking cocktails in the swimming pool, sipping Merlot in open-plan kitchens and listening to a jaunty rendition of “Sigh No More” (better known as “Hey Nonny Nonny”) that will have audiences humming it for days afterwards. Amy Acker and Alexis Denisof are our Beatrice and Benedick, the rancorous pair whose friends are plotting to match make against their knowledge, and they are fizzing with energy. Ms Acker in particular is a delight, full of easy confidence. For ardent fans of the classic 1993 film starring Kenneth Branagh as a classically thespian Benedick, Mr Denisof may initially come across as a touch too flippant. But the chemistry between the two is undeniable, particularly as the story progresses—which is, of course, just as it should be.”

Clark Gregg, who played Agent Phil Coulson in “The Avengers”, deserves special mention as the affable governor Leonato, as graceful a host as one could hope for. In “Much Ado” it is crucial, too, that we care what happens to Claudio and Hero, the rather hapless couple on whose happiness that of Benedick and Beatrice also depends, though this is a subplot that is often neglected. Here it is well done: Fran Kranz and Jillian Morgese are not as simpering as some earlier incarnations and are believable as a couple. Every character feels real.

The cast is populated almost exclusively with regulars from Mr Whedon’s television shows and films: “Angel”, “Buffy the Vampire Slayer”, “The Cabin in the Woods” and “The Avengers”. Not only does this mean that this low-budget flick had a ready made and rather unusual audience (Mr Whedon’s shows had a cult following long before he became a household name; a preview screening was clearly packed to the rafters with hardcore sci-fi fans), it also lends it the playful, rather casual tone of a TV show. Shakespeare’s darker musings on fidelity, gender and love are still here, but they are treated with such a light touch that you may forget them. Whether audiences think this is a good or bad thing will vary, but certainly this is one of the funniest adaptations in a long time. This is big comedy in the way that early audiences might have enjoyed the play, with slick slapstick and absurd visual humour. One of the biggest laughs comes when we see our male heroes housed in rooms clearly intended for little girls, complete with ribbons and dollhouses.

Nonetheless, this is still a very contemporary interpretation, from its breezy attitude to its modern-day context, including the suggestion (inferred in Shakespeare’s text but made explicit here) that Benedick and Beatrice have been lovers before. Not everything works—the heavy focus on female chastity has long felt antiquated, for instance. But this is an intuitive production that is likely to draw new audiences to the Bard in the way that Baz Luhrmann’s fiercely modern “Romeo + Juliet” did in 1996. Its greatest strength is its natural pace and easy repartee. Now if only Hollywood would consider funding Mr Whedon to take on another adaptation of classic literature. Or would a bigger budget ruin the fun?

"Much Ado About Nothing" is out now in America and is in cinemas in Britain on June 14th

Shakespeare Plays and Festivals

shaksper@shaksper.net (Hardy Cook) — Sat, 15 Jun 2013 15:47:43 +0000

The Shakespeare Conference: SHK 24.0296 Saturday, 15 June 2013

From: Hardy M. Cook <editor@shaksper.net>

Date: Saturday, June 15, 2013

Subject: Shakespeare Plays and Festivals

The Shakespeare Plays and Festivals continues to be updated and evolve.

It is now specifically arranged in categories of United States, Canada, and Europe.

Thanks to Scott Oldenburg and Gary Kosinsky for additions.

You can see the Shakespeare Plays and Festivals list here: http://shaksper.net/scholarly-resources/shakespeare-festivals-and-plays

Hardy

CFP: The Shakespeare Institute Review

shaksper@shaksper.net (Hardy Cook) — Sat, 15 Jun 2013 15:29:07 +0000

The Shakespeare Conference: SHK 24.0295 Saturday, 15 June 2013

From: Shakespeare Institute Review <shakesreview@gmail.com>

Date: June 14, 2013 2:01:25 PM EDT

Subject: CFP: The Shakespeare Institute Review

Dear all,

The second issue of The Shakespeare Institute Review was released at the end of the recent BritGrad conference. The issue, which explores Shakespeare in relation to the superhuman, showcases a thoughtful, engaging and creative range of contributions and can be found at this link: www.shakesreview.com .

Following on from this, we warmly invite submissions for the third issue of the Review, an online academic journal to which postgraduate students of Shakespeare and related programmes are invited to contribute. Please find below and here: http://www.shakesreview.com/news.html . Students are encouraged to submit papers between 1,500 and 3,000 words on topics relating to love and lust in Shakespeare, with a deadline of 31 August 2013.

Detailed style guidelines can be found here: www.shakesreview.com/style-guidelines.html . Selected submissions will be published in the third issue of the Review. Please share this with students of your and other departments who may be interested. If you have further questions or comments please let us know by email at shakesreview@gmail.com or via the contact form on www.shakesreview.com/contact.html .

The Shakespeare Institute Review - Call for Papers for the Third Issue

The Shakespeare Institute Review is an online academic journal funded by the University of Birmingham College of Arts and Law, and to which students at the Shakespeare Institute and on other postgraduate programmes are encouraged to contribute. Each issue has a theme to which contributors are invited to respond.

Continuing on from the first two issues of the journal, which explored death and the superhuman in Shakespeare, we thought it appropriate to segue into an examination of human emotion and passion with a theme of love and lust, running the gamut from the shameful to the sublime. Students are therefore encouraged to submit papers between 1,500 and 3,000 words on topics relating to Love and Lust in Shakespeare. Possible topics might include, but are not restricted to:

· What is the meaning of love in a Shakespearean sense? What place does love or lust occupy in our collective imagination or human experience? Why are we fascinated by it, spawning a plethora of literature, art, and cultural artefacts ranging from romance novels, movies and plays to erotic literature, art, and even pornography? Why do we seem to have a collective cultural obsession with love and its successful resolution?

· Critical examinations of Shakespeare’s lovers or love relationships; instances of the romantic, the erotic, or the bawdy in Shakespeare. In particular, we would be interested in papers on the idealised, the idolised, and the scorned. This could include close reading, comparative analysis, etc.

· Considerations of the political, ethical, religious, spiritual, and/or existential significance of love (or lust) in the Early Modern period, and of how Shakespeare makes use of (and plays off) those conceptualisations in his works.

· More intensely personal and experientially engaged writing on how Shakespeare’s works have affected your understanding of what love might mean, and what it means to experience love or lust? Is it just a matter of experiencing certain feelings, or is it a quality of mind and attitude? How do we define love and lust; where is the line between love and lust—might they be seen as “higher” and “lower” expressions of the same human instinct?

Papers should be submitted to shakesreview@gmail.com , with a deadline of 31 August 2013. Please refer to the following style guidelines:

www.shakesreview.com/style-guidelines.html

All submissions will be reviewed by the editorial board (Thea Buckley, Paul Hamilton, and John Langdon), and those submissions that are selected will be published in our third online issue. For further information, please contact us at shakesreview@gmail.com or via the contact form on

www.shakesreview.com/contact.html

Yours faithfully,

The Editorial Board --

Paul Hamilton, John Langdon and Thea Buckley

Shakespeare Institute doctoral research student

Shakespeare Plays and Festivals

shaksper@shaksper.net (Hardy Cook) — Fri, 14 Jun 2013 17:05:12 +0000

The Shakespeare Conference: SHK 24.0294 Friday, 14 June 2013

From: Hardy M. Cook <editor@shaksper.net>

Date: Friday, June 14, 2013

Subject: Shakespeare Plays and Festivals

I have made some decisions and design changes since yesterday. To accommodate our colleagues in the Southern Hemisphere I have removed the word “Summer” from the play list and now call it simply “Shakespeare Plays and Festivals.”

I have also created a page for it under Scholarly Resources. If you go to the Scholarly Resources tab on the home page of SHAKSPER.net and let your pointer hover on that tab the last drop-down item is a link to “Shakespeare Plays and Festivals.” You can go directly to that section by clicking http://shaksper.net/scholarly-resources/shakespeare-festivals-and-plays

I will update this page whenever I receive further information such as the Michigan Shakespeare Festival that I learned about from George Angell of Hillsdale College. After an update, I indicate the date of the changes at the top.

I appreciate your patience as I developed this new SHAKSPER resource and look forward to any play reviews that are generated as a result of it.

Hardy

Petruchio

shaksper@shaksper.net (Hardy Cook) — Fri, 14 Jun 2013 16:29:13 +0000

The Shakespeare Conference: SHK 24.0293 Friday, 14 June 2013

From: Thomas Pendleton <TPendleton@iona.edu>

Date: June 13, 2013 3:15:15 PM EDT

Subject: Petruchio

Folks,

Larry Weiss was right. I missed the Q1 entry of “Petruchio,” and thus, Rene Weiss’s choice of speech prefix is quite defensible.

Tom Pendleton

Away Tybalt

shaksper@shaksper.net (Hardy Cook) — Thu, 13 Jun 2013 16:35:44 +0000

The Shakespeare Conference: SHK 24.0292 Wednesday, 12 June 2013

From: John Drakakis <john.drakakis@stir.ac.uk>

Date: June 10, 2013 1:41:54 PM EDT

Subject: RE: Away

For Pervez Rizvi:

I think the suggestions regarding The Merchant of Venice are interesting, but I think that ‘Replie, Replie’ although it is in italics on the right hand side of the page in Q, works better metrically if it is part of the song. The song is envisaged here as a dialogue where the first stanza asks a series of questions that are then answered in the second. It is quite likely that the ‘reply’ comes from one of two singers, and this would account for “Ile begin it” in roman on sig.E4v spoken by one of the two singers. I think that John Dover Wilson got this right. The second example that Rivzi chooses is less convincing since it is positioned as a stage direction. Salerio’s deictic “his letter there / vvill show you his estate.” would surely not require a further, possibly impertinent insistence: ‘open the letter’, since Bassanio is a ‘Lord’.

For Alan Dessen:

A pity that you stick with the usual explanation of Innogen, and in a play that emphasises the ‘silence’ of women. Is it not just as likely that Shakespeare simply forgot to note those occasions after 2.1 when Innogen might appear, but that it could reasonably be assumed that she would be present in the ‘public’ scenes that would normally require her to be present as Leonato’s wife. Her presence, especially at 4.1. and in the final scene of the play alters the play’s meanings significantly and raises some interesting gender questions that even ardent feminists seem reluctant to engage with. We owe much to Alan and to Lesley Thompson for assembling a very wide range of stage directions, but we are still uncertain, I think, about what a practising writer might be able to take for granted as part of the process envisioning a play. We know, for example, that in the same play Will Kemp ‘wrote’ the part of Dogberry, and ‘Couly’ that of Verges . . . let me quickly explain, that Shakespeare may have put the words they speak on paper (and even that is an assumption) BUT he is ventriloquising the language and style of two actors whose work he is intimately acquainted with. Can we not say then that Kemp and Couly ‘wrote’ Shakespeare in this instance?

Cheers

John

Summer Shakespeare Plays and Festivals

shaksper@shaksper.net (Hardy Cook) — Thu, 13 Jun 2013 16:12:21 +0000

The Shakespeare Conference: SHK 24.0291 Wednesday, 12 June 2013

[1] From: Anna Kamaralli <porcupetta@yahoo.co.uk>

Date: June 12, 2013 10:31:28 PM EDT

Subject: Re: Summer Shakespeare

[2] From: Hardy M. Cook <editor@shaksper.net>

Date: Wednesday, June 12, 2013

Subject: Summer Shakespeare Plays and Festivals List

[1]-----------------------------------------------------------------

From: Anna Kamaralli <porcupetta@yahoo.co.uk>

Date: June 12, 2013 10:31:28 PM EDT

Subject: Re: Summer Shakespeare

I would be happy to hold up the Sydney end of the reporting on/reviewing summer Shakespeare festivals, as long as no one will be too disorientated by the fact that summer means December - February here. Or too depressed by the fact that we don’t really have a summer Shakespeare festival. What we have is about three different co-op groups who do one or two outdoor shows somewhere between November and March, in different parts of the city, with no cohesiveness and very little professional profile.

Sigh.

Anna Kamaralli

[Editor’s Note: It is not that I did not think of my colleagues in the Southern Hemisphere, it is just that at the time I did not know how to handle their Shakespeare festivals. Now I think I know how to see below. –Hardy]

[2]-----------------------------------------------------------------

From: Hardy M. Cook <editor@shaksper.net>

Date: Wednesday, June 12, 2013

Subject: Summer Shakespeare Plays and Festivals List

Dear SHAKSPEReans,

Now we have a starting place for listings of summer Shakespeare festivals and plays from the list that I posted the other day.

I have already gotten one addition which I have added both to the copy in Current Postings and to the one in Announcements.

I welcome any corrections or additions to the list.

I have been trying to get a tab under Scholarly Resources under the main Scholarly Resources section in the drop-down menu. When I figure this out I will announce it.

For now you may find the list by scrolling through the Announcements or Current Postings sections, in the archive under June 2013, or by holding your pointing device over the Scholarly resources tab and clicking directly on it and not on one of the drop-down items. By so doing you will get the page that is a sort of table of contents for Scholarly Resources. At the very bottom of this list is a link to the Summer Shakespeare Plays and Festivals list.

Every time that I get an addition or correction, I will send the updated list to the Announcements section.

Let us not forget that although the list is useful as it is, it also serves as a way to generate reviews/accounts for SHAKSPER and for ISE Chornicle.

Hardy

Stephen Booth Guest Speaker Chesapeake Shakespeare Company

shaksper@shaksper.net (Hardy Cook) — Thu, 13 Jun 2013 16:01:26 +0000

The Shakespeare Conference: SHK 24.0290 Thursday, 13 June 2013

From: Kevin Costa <kcosta380@gmail.com>

Date: Wednesday, June 12, 2013 8:13 AM

Subject: Stephen Booth Guest Speaker Chesapeake Shakespeare Company

The Chesapeake Shakespeare Company’s summer season is underway in Ellicott City, MD (a historic town about twenty minutes from Baltimore and DC). This summer, CSC presents Antony & Cleopatra (directed by Ralph Alan Cohen, co-found of The American Shakespeare Center) and The Taming of the Shrew (directed by CSC’s founding artistic director, Ian Gallanar).

For years, CSC has offered a program called "Extended Versions," pre-show talks and presentations where audience members have an opportunity to engage with actors, directors, and scholars. We are very pleased to announce that Stephen Booth, professor emeritus at UC-Berkeley, will be speaking on Friday, June 21at 7 pm at the Patapsco Female Institute (the location of our outdoor theatre) accompanied by Sarah Enloe, Director of Education at the American Shakespeare Center. The talk is included in our regular ticket price.

For tickets and more information, please visit CSC’s Web site: www.chesapeakeshakespeare.com or contact Kevin Costa, Director of Education at costa@chesapeakeshakespeare.com

Kevin J. Costa, Ph.D.

Education Director

Chesapeake Shakespeare Company

www.chesapeakeshakespeare.com

Teaching Artist, Folger Shakespeare Library