There’s a great review up on Shakespeareances about the Chesapeake Shakespeare Company’s Antony and Cleopatra:
A particularly riveting scene is Act Two, Scene Two, when Antony (Matt Radford Davies) and Octavius (Patrick Kilpatrick) finally meet in a summit in Rome presided over by the third triumvir Lepidus (Dave Tabish). Their meeting starts tersely with Caesar’s “Welcome to Rome”; “Thank you;” “Sit”; “Sit, sir”; “Nay then”—and the two take their seats, monitoring whose butt makes first contact with his seat’s cushion. Kilpatrick’s demeanor as Octavius is stiffly intense; Davies’ Antony coils in a cautionary aspect. Octavius presses his complaints, most of which are the kind of unfactual spin we hear between Republicans and Democrats all the time. Antony casually dismisses the lesser of these and, on the more serious accusation of treason, offers a tempered apology not for breaking his oath but for neglecting it. This leads to Octavius’ officer Agrippa proposing the marriage of Antony to Octavius’ sister, Octavia. The manner of Kilpatrick’s speaking Octavius’s line “Yet if I knew what hoop should hold us staunch, from edge to edge o’th’world I would pursue it” suggests he is giving Agrippa his cue to propose the marriage. As Agrippa lays out the proposal, Kilpatrick’s Octavius stares steadfastly at Antony, closely monitoring every millimeter of movement in the face of Cleopatra’s self-professed lover. It’s a study Octavius doesn’t relinquish even after Antony agrees to the marriage—even in their later scene together after the wedding has concluded.
Read the whole article here.
This is outstanding. Sculptor Jay Hall Carpenter made this. It’s at Henson’s alma mater University of Maryland. They have a garden dedicated to Henson, and this statue sits there. Good on U of M Classes of ’94, ’98, and ’99 for making it happen.
Here’s a nice article on all the common phrases that we got from ol’ Bill. My personal fave? ”What the dickens”:
As far as I knew, there were no other dickenses to be had in this world, or any other! Imagine my relief when I found out that the phrase had nothing to do with good ol’ Chuck. Shakespeare first used the phrase in his comedy The Merry Wives of Windsor, published in 1602. Rather than meaning a person, when you compare something to the dickens, you actually are referring to Devil! The dickens was a soft-core version of the Devil’s name, much like we say “shoot,” “geez,” or wizards use “He-Who-Must-Not-Be-Named.”
Outstanding panoramic pic of the main stage itself. This is the place, folks.
This clip from is from Act 2 Scene 3, whcih features the discovery of Duncan’s body. This particular clip shows how the cracks in Macbeth’s story begin showing up immediately. Think about it: if the king’s guards killed him in his sleep, and were now passed out drunk, wouldn’t you want to question them? Who put them up to it? Who fed them the booze? The last thing you’d do, if you wanted the truth, was kill them. That’s what Macduff and Banquo (especially Banquo) find so fishy.
Yep. That’s the best thing.
Stella Adler gave acting instruction to Marlon Brando, Robert DeNiro, and taught script analysis to Peter Bogdanovich. Sorry for the name-dropping. Point is, she knows what she’s talking about. Check out these notes she made for acting Tennessee Williams. You can read the whole article here.
The Merciless Macdonwald, from Act 1 Scene 2, is described as the most vicious of the rebel fighters. It is important that it is Macbeth is the one who takes him down, because by the end of the story, Macbeth IS Macdonwald: the terrible warrior that is the scourge of the Kingdom’s faithful defenders. So, Macbeth becomes the exact thing he once fought.