This is going to make a lot more sense if you read Part One. I think I can only number it 1-5, but we all know it’s 6-10, right? * Another historical experience live-tweeting might allow us better to imagine is the role played the early modern repertory company. Some of the pleasure of the Marathons involves … More Ten Live Tweeting Commandments: Part Two
Last month marked the third iteration of an annual exercise in which I alienate a substantial proportion of my Twitter followers by posting a multi-day string of quotes from and riffs on the corpus of an early modern English playwright. Every year the Shakespeare Institute, under the direction of Dr Martin Wiggins, organises a marathon … More Ten Live Tweeting Commandments: Part One
Judging by the songs available on YouTube, the Broadway musical Something Rotten strikes an interesting balance between propagating familiar pop-cultural myths about the early modern period and unpicking some of those assumptions through playful anachronism. The opening number, for example, welcomes us to ‘the Renaissance/Where everything is new’: far from a transitional period still processing and remaking its … More It’s hard to be the Bard – but why?
I have a confession to make: I’ve never really read Henry V. I’ve seen it, yes, in the Olivier and recent Hollow Crown film versions, and I know the most famous passages, but I’ve never properly sat with the text, and last night’s RSC production, starring Alex Hassell, was my first encounter with the play … More Henry V – A hard play to love?
Does anybody care what I want to write? — John Dryden No! — The rest of the King’s Company Hooray for Jessica Swale’s Nell Gwynn, now playing at the Globe. As well as being a sprightly, engaging feminist reclamation of Restoration theatre history, it’s also the only play I’ve ever encountered where all roads of narrative fulfilment … More Nell Gwynn, John Dryden, and the Restoration of Theatrical History