A Bushel of the Bard - the Tragedies

I told you I was trying to finish things off.

Antony and Cleopatra: I have only ever seen one version all the way through, the Ralph Fiennes / Sophie Okonedo National Theatre one they shared during COVID.

The Charlton Heston one is not as bad as you have been told, but I might be biased by John Castle as Octavian, Roger Delgardo as the Soothsayer and Eric Porter giving it torn between duty and love as Enobarbus, and very few people do that better than Eric Porter.  (Martin Landau as not Enobarbus is the Elizabeth Taylor Cleopatra is also my favourite thing in that.)  

I have many Enobarbus thoughts, as my review of the NT version will show, I think because his dilemma is just more interesting that the central pair's (I also suffer from "I don't see what's so wrong with Octavian").

King Lear: L remediated my lack by taking me to see the Kenneth Branagh version in November.  L is awesome.

The reason for the lack is that my mother objects to gore, which is also why there is nothing for Titus Andronicus here.

Macbeth: I have strong Macbeth opinions.

The best recorded version I ever saw is the Sean Pertwee modern dress one.  There is no reason for a Channel 4 reasonably-low-budget-undoubtedly-designed-for-GCSE-students version to be so good, but it is.

The first version I ever saw was the Animated Shakespeare one which is beautifully done.  It's still the first one I think of when I hear any of the words.

I've seen it live once, at the local theatre, a tiny production with maybe seven people who were the stage crew, the sound crew and the actors.  And yet, by the end, I was there on the blasted heath as Macbeth had his throat slit.  It's still 20 odd years later one of the best things I've ever seen on a stage.

The worst version is undoubtedly the Jason Connery version - they cut "one fell swoop".  Why would you do that?

I'm also in the minority that aren't huge fans of the McKellen / Dench version (although that is the best take on "Tomorrow, and tomorrow and tomorrow"), or the Patrick Stewart version (I am done with heavy-handed Soviet iconography) or the recent-ish Eccleston version.

One day I will get round to watching the Nicol Williamson version.

Hamlet: I do not have a Hamlet problem.  Please ignore that I have two copies of Hamlet in the room.  (In my defence, I also have a Coriolanus and the Hollow Crown.  And three different versions of the Three Musketeers.)

Favourite, I'm going to go with the obvious and Kenneth Branagh, because I do love it so.  I am also very fond of the Nicol Williamson version.  He is ten to twenty years too old but he is also the most convincing scholar-prince.

Worst is a tie between the Ethan Hawke version (which does have the redeeming features of Julia Stiles and Liev Schreiber) and the terrible Andrew Scott version which I nearly threw shoes at my TV over.  I'm also not that fond of the most recent NT version.

I'm not that wow-ed by the Tennant version or the Zeffirelli version, both of which fail the "am I cheering for Laertes?" test.  Michael Moloney and Nicholas Farrell are tied for "most Hamlet characters I've seen an actor play", because Nicholas Farrell was the voice of Hamlet in the Animated version, which is beautiful.  Mother has called the Zeffirelli version "why won't you die already?" which isn't a good sign either.  I had issues with the Globe's gender-swapped version, although I really liked their take on the Hamlet and her father.  The fight scenes were terrible, like 'give me two newbies and two hours and I can do better than that' bad.  The one time I did see it live was at the RSC, and the program had an article written by a fencer I knew at least to nod at, and it did something really interesting with it's fight scenes (no, I don't mean just the Leon Paul gear).  Laertes fenced sabre in a really traditional style, while Hamlet's was the modern style and it makes character sense.  Characterised fight scenes FTW!!!  I swear the only reason I don't rate it more highly is because the As You Like It that it shared its season with was exceptional.

The Soviet version changes the words, obviously, but the visuals are amazing.  Ophelia's bodice/straight jacket/cage will live long in the memory.

I quite liked the RSC version they showed on BBC4 during COVID, and the Rory Kinnear version.  I'm hoping BBC4 doing a Hamlet night with the most recent National Theatre version will mean the Christopher Plummer / Michael Caine version is on Iplayer for a while, because that's been on the "must find a way to watch" list for some time.

So okay, I probably do have a Hamlet problem.

Romeo and Juliet: Like a great many people, this one I studied at school.  It's also the one where I have a full on theatre concept complete with staging and costumes (admittedly heavily influence by the ballet).

Beloved English teacher let us see the Zeffirelli and Luhrmann versions, and I know everyone always raves about Mercutio and Tybalt in the Luhrmann version, but can I get a shout out for their Benvolio?  My Mercutio is still John McEnery, although writing this had informed me that my first Mercutio, from the Animated tales was the person who played Claudius in the version of Hamlet I saw live.

I was Mercutio-skewed before Beloved English teacher gave me him and Escalus in the class reading, but it may have emphasised the problem somewhat.  I was chosen because I was the 13 year old with the foulest mind, the most percussive Ps and Ts, and the one who would get to the end of the line before giggling.

The skew does mean I judge Romeos and Juliets by their Mercutio which is why I completely passed on the Globe version, because they played my boy like he's Hamlet rather than a firework who likes fornicating and fighting more than anything else.  (They also had Alex Price and had him play Paris not Mercutio.  I just can't at that point.)

(Mercutio and Tybalt are sex and death, and love loses to them, that's why it's a tragedy)

Coriolanus: Dear old Coriolanus is probably the tragedy that works best for me (terrifying mothers etc).  Any version wins for me at the point where I go "Caius, don't do that".

It was also the first play I saw at the RSC (before the redevelopment, back when the Gods were terrifyingly steep).  Janet Suzman takes some beating as Volumina, she had the loudest silence I've ever heard.

I also really liked the National Theatre, Tom Hiddleston / Deborah Findley version.  Which also includes the platonic ideal of a hip throw in the first Coriolanus / Aufidius fight.  

The thing that intrigued me is how the two products handled Volumina's request, Janet Suzman's Volumina knew what she was asking when she arrived, while Deborah Findley's figures it out mid-scene and her face!!!  That scene plays very differently.  They both work, oh wow do they both work, but differently.

I will watch the Fiennes / Redgrave version, but I've still not managed to have the time and the mindset at the same time, because I fear it will break me. 

A Bushel of the Bard - the Histories

As there is a brief pause in the rugby union visualisations, I thought it was a good time for the next in this series.

After the first post in this series, I received complaints about the Merchant of Venice being included in the comedies.  I told L that if he wanted to shout at someone, he should shout at 400 years of classification.  On the other hand, I agree that Merchant of Venice is not funny (most especially not Launcelot Gobbo).  But it does have a wedding.

That sort of historical classification is also why Julius Caesar, play about a famous, real, historical even in Shakespeare's day person is in the tragedies, not in the historicals.

Richard II - You know how you never see the Charlton Heston Ben Hur in the right order?  I have never seen Richard II in the right order.  I have seen the end, beginning and middle of completely different productions, unfortunately in that order.  (Although L took me to see the Wilton diptych, so I see why they go with white and gold for Richard - https://www.nationalgallery.org.uk/paintings/english-or-french-the-wilton-diptych)

Henry IV (or IVa and Ivb) - In the right order, only ever the Jonathan Firth version (or David Calder version, depending if you describe it by Hal or by Falstaff, Rufus Sewell version if you go by Hotspur.  Mumblety but greater than 25 years later, I still remember the Radio Times picture of Rufus Sewell as Hotspur).  Various liberties are taken with the order of scenes in this version, which even my mother has no objections to.  Them making John the nice Lancaster we all take grievous objection to (they remove the bits where he sneaks mightily and underhandedly).  Them playing up the poisonousness of Hal, my mother objects to also.

On the other hand, David Calder is still my Falstaff, the Falstaff all others will be measured by (and frequently found wanting).  It's the scene with him and Justice Shallow and Paul Eddington and David Calder just knocking that straight out of the park.

Henry V - There's going to be a whole bit about "I don't have a Hamlet problem".  In much the same way, my Mum doesn't have a Henry V problem, she only has 3 versions at home (I have the family copy of the Hollow Crown version, which one day I will watch, properly).

I'm going to go with the obvious, and go with the Branagh version as my favourite, all mud and blood and Non Nobis Domine (https://www.youtube.com/watch?v=13FrLGB_oK8).  However, I've yet to see a version where there wasn't something I liked.

I love the surround for the Olivier version, and the BBC version gives me most of Act 3 scene 7 and Julian Glover's Constable.  Even the recent(ish) Globe version with Jamie Parker as Henry V that I otherwise disliked had an adorable "Kiss me Kate", although when the "Kiss me Kate" is the highlight of a version, it says things.

Richard III - Antony Sher, but not like that.  Once again, the Animated Tales has weaved it's spell on me, and he is Tricky Dicky in that one.  It's the artwork and the ghosts, oh the ghosts.  The other version I have watched all the way through, in the right order, is the Laurence Olivier version, which works well and has that moment where Buckingham realises what he's released.

A Bushel of the Bard - Comedies

Some time ago, @anaisbelieve on twitter asked for suggestions for Shakespeare adaptations to watch, and I'm using this meme pinched from S. to expand on my thoughts.  The one's I've not seen yet have been skipped.

Originally I was going to something like this following the "Sword-fighting Films" series in the same format, but you've seen how long that's taking so I shall do it this way instead.  Worst comes worst, it'll mean parts of the other posts might be ready.

With advanced warning that the correct answer on how to watch the pound for pound (or minute for minute) best Shakespeare adaptations is to get the BBC's Animated Shakespeare on DVD some adaptation recommendations.

Comedies:

Much Ado about Nothing: I am going to go with the obvious option, because there is a reason it is the obvious option.  

My choice is the Emma Thompson/Kenneth Branagh version, because it is excellent.  Not only do they make Dogberry abideable (I don't care if that isn't a real word), but the "Kill Claudio" scene works because everyone involved treats it as seriously as it needs to be treated.  Because if Beatrice could, she'd do it herself, and Benedick loves Claudio but can't get out of the promise and he's going to go through with it ...

If you want something a little different but still very good, I recommend the Shakespeare Re:Told version with Sarah Parish and Damien Lewis.  I don't like this version just because Hero doesn't end up with Claudio, although yes, that is definitely one of the biggest things in it's favour.  The other main reason is that the leads have enough chemistry to make a houseful of students yell "just kiss already" at the TV.

Taming of the Shrew: I'll go with Shakespeare Re:Told here as well, because in it, she doesn't get any more reasonable, just less unrelentingly horrible.  The Shrew is not tamed, merely redirected (and ends up being the Prime Minister).  Rufus Sewell in a mini-skirt and eyeliner is an added bonus.

The Winter‘s Tale: The only version I've seen is the Animated Shakespeare one.  I recommend.

Twelfth Night: I've seen it live in the Corn Exchange in Manchester, in the round.  Where the front row had to wear pakamacs for reasons.  It was a hoot, and is "the version in my mind's eye".

I've also seen the Animated Shakespeare version, and a National Theatre version during the COVID showings (thank you National Theatre).  Also most of the Joan Plowright version, mostly in the right order (long story, but it was available on YouTube, and may still be).

None of these are bad, the live version is still my favourite though.

A Midsummer Night‘s Dream: Another one where the first version I saw was the Animated Shakespeare one.  I've also seen a National Theatre version (once again, thank you National Theatre for putting them online over COVID), which did pleasingly tricksy things.  Like, literally midway through a speech I went "oh that's what you've done".  I have seen most of the Kevin Kline/Michelle Pfeiffer/various other people version, which also fills me with warm snuggly feelings, even if it has the most gloriously wistful bit with Bottom at the end.

Also during COVID I saw a Globe Theatre version online, which in grand traditional Globe style, I didn't quite like.

The Merchant of Venice: Like everyone else who answered these meme questions, I remember which play I got for exams.  My GCSE English teacher chose this one out of the three options (this, Midsummer Night's Dream and Macbeth) because it had the least worst coursework essay question.  (The question was "Shylock, victim or villain?"  I'm not saying it was good, I'm saying it's better than "the use of words associated with weather to create an effect in Macbeth" and "how to stage (whichever scene it was) in Midsummer Night's Dream".)

That meant we got to read the play out (I got lumbered with Launcelot bloody Gobbo.  My dislike of him is based on experience.  My beloved English teacher didn't hate me, merely knew I could deal with his lines.).

On the other hand, it also means that I've yet to see a proper production of it without coursework hanging over it.  Because we were supposed to watch the Olivier version but something happened (fire alarm most likely) and ... and ... and.  I might have seen all of it in pieces but mostly thinking about aforementioned coursework essay.  

I am aware that's an odd gap.

The Tempest: I do love the Animated Shakespeare version something rotten, even if they soften Ariel and Caliban.  I didn't mind the recent(ish) Globe version, although Roger Allam is by some way the cuddliest Prospero (possibly a mite too cuddly, pers. opinion etc).

As You Like It: This is my favourite of the comedies, I think because everyone (except Jacques) gets a happy ending (and people like Jacques are never happy).  It was my favourite even before I saw the excellent RSC version several years ago (everything about it was excellent, from the acting, to the music, to the lighting.  Like I can still close my eyes and wrap myself up in the lighting effects if I think hard enough level good.)

I may have been biased by the first version I ever saw being the Helen Mirren one on VHS (https://www.imdb.com/title/tt0077180/).

Histories up next, where I have less positive comments about some versions.