THOMAS KYD's the SCOTTISH LADY by James Lewis Huss a SMITH SCRIPT

Total Page:16

File Type:pdf, Size:1020Kb

THOMAS KYD's the SCOTTISH LADY by James Lewis Huss a SMITH SCRIPT THOMAS KYD’S THE SCOTTISH LADY by James Lewis Huss A SMITH SCRIPT This script is protected by copyright laws. No performance of this script – IN ANY MEDIA – may be undertaken without payment of the appropriate fee and obtaining a licence. For further information, please contact SMITH SCRIPTS at [email protected] Thomas Kyd’s The Scottish Lady by James Lewis Huss © 2021 James Lewis Huss All Rights Reserved Cast of Characters: Gruoch, Lady Macbeth Macbeth, Thane of Glamis/King of Scotland Suthen, Lady Duncan Darcel, Lady Macduff Macduff, Thane of Fife Banquo, Thane of Lochaber Malcolm, Thane of Ross Agnes of Alba Alanis Muir Euphame the Pict Chambermaid Physician First Guard Second Guard 1 ACT I 2 Scene 1 [Castle Forres] 3 GRUOCH, Lady Macbeth; SUTHEN, Lady Duncan; and DARCEL, Lady Macduff, are playing cards 4 and drinking wine. 5 GRUOCH: We three should meet more often. 6 DARCEL: I would brave 7 The lightning, thunder, and the rain to meet 8 Again. 9 SUTHEN: When all the hurly-burly’s done 10 We’ll have more time for cards and wine. 11 DARCEL: Salud! 12 GRUOCH: When all the hurly-burly’s done … the men 13 Who run this kingdom spend their energy 14 Competing for the monarchy. Withal, 15 The hurly-burly’s never done. They’ll all 16 Be in their graves before too long if they 17 Don’t cease this toxic test of penis length. 18 DARCEL: They’re always whipping out their little blades 19 And swinging them about. Our husbands’ war 20 Machine is making Scotland ill. 21 GRUOCH: And still 22 The people to those feckless peckers kneel. 1 | P a g e 23 SUTHEN: I’d rather be a pauper working in 24 The fields than suffer this incessant stress. 25 DARCEL: Your husband placed a target on his brow 26 The moment he accepted Scotland’s crown. 27 GROUCH: These bastards are enraptured by that crown. 28 DARCEL: Our bloody cousins will not hesitate 29 To kill each other if the crown’s at stake. 30 SUTHEN: My husband’s fine for now. He’s so afraid 31 Of Cawdor that he’s hiding in his tent 32 While Gruoch’s husband does the dirty work. 33 GRUOCH: My husband he is not. My husband died. 34 DARCEL: So what’s it like to fuck the lucky louse 35 Who set ablaze your former spouse? 36 SUTHEN: Darcel! 37 GRUOCH: He doesn’t get that lucky. He can’t get 38 It up but once a month! 39 DARCEL: Well, lucky you. 40 GRUOCH: And when he finally does, I close my eyes 41 And think about Macduff. 42 DARCEL: Go to! 43 GRUOCH: ‘Tis true! 44 DARCEL: You have a thing for pale and stupid men? 45 SUTHEN: Darcel! 2 | P a g e 46 GRUOCH: I like them fat and hairy too! 47 They laugh. DARCEL raises her glass. 48 DARCEL: Salud! 49 SUTHEN: You two are brutal. You don’t like 50 A thing about your husbands? Not a thing? 51 GRUOCH: If I thought I could get away with it, 52 I’d take my blade and drain him like a sheep 53 For taking kind and brave Macmail from me. 54 SUTHEN: You shouldn’t hold a grudge, for it does naught 55 To change the life that has been taken. Glamis 56 And Fife and Duncan all were taught from birth 57 That they must manly be, and fighting makes 58 Them manly. That’s just how these beasts behave. 59 DARCEL: Their fragile masculinity is so 60 Damn tedious. Macduff will not shut up 61 About how great he is in battle, and 62 How one day he’ll be king, and blah blah blah, 63 And I don’t understand because his dick 64 Is really not that small. 65 GRUOCH: They’ll all go to 66 Their graves upon the edge of family blades. 67 SUTHEN: I beg of you to change the topic. I, 68 Unlike the two of you, adore my spouse. 3 | P a g e 69 GRUOCH: My husband is a wretch. The only good 70 That came with wedding him was Inverness. 71 DARCEL: I’d love to live in Inverness. 72 SUTHEN: It’s quaint. 73 But Castle Forres is so spacious. 74 GRUOCH: Oh, 75 I’d kill to live in Forres. It’s divine. 76 DARCEL: Be patient. You might get your chance, unless 77 Your spouse is gutted on the battleground. 78 SUTHEN: Go to! 79 GRUOCH: The Thane of Glamis will win his fight. 80 If there’s one thing he’s good with, it’s his might. 81 SUTHEN: Withal, my husband will not die by sword. 82 He’ll end his life in bed, surrounded by 83 His family, for he’s a king of law 84 And order, rule and peace. 85 GRUOCH: That’s why he sent 86 The Thanes of Glamis and Fife to fight his war 87 While he enjoys reports and stories of 88 Their triumphs from the comfort of his tent. 89 SUTHEN: It’s not his war. Those scoundrels in the North 90 Revolted. Duncan had no choice. Besides, 91 The Thanes of Glamis and Fife will neither see 4 | P a g e 92 The Scottish crown, unless they kill for it. 93 GRUOCH: What do you mean? 94 SUTHEN: My husband plans to name 95 Our elder boy the Prince of Cumberland. 96 DARCEL: But is that even legal? 97 GRUOCH: Duncan will 98 Profane our ancient laws of tanistry 99 With this display of brazen vanity. 100 SUTHEN: Those ancient laws have led our nation down 101 A path of constant conflict, blood for blood, 102 Assassination. Is this what you want 103 For Scotland? 104 GRUOCH: Scotland will remain beneath 105 A violent hand as long as men command. 106 DARCEL: And it will never change. King Malcolm tried 107 To end the patriline. Withal, his crown 108 Was passed to Duncan. 109 SUTHEN: That’s exactly why 110 My husband wants to change succession law. 111 A son is still a son no matter what. 112 GRUOCH: A son, a son, it’s always for a son. 113 SUTHEN: No biased council can deliberate 114 His right to wear the crown upon his brow. 5 | P a g e 115 This will bring peace to our unstable state. 116 GRUOCH: No Scot will let our monarchy descend 117 Into a nepotistic dynasty. 118 DARCEL: Your spouse will make a dire mistake if he 119 Unto his eldest promises the throne. 120 GRUOCH: The din and caterwaul will drown him out. 121 He doesn’t have the clout to change that law. 122 SUTHEN: You shouldn’t bitch about my husband. Thanks 123 To him, the daring Thane of Glamis will be 124 Awarded Cawdor if he wins his war. 125 Your spouse will make no play for Duncan’s crown. 126 GRUOCH: He’s granting Cawdor to the Thane of Glamis? 127 DARCEL: But Fife’s in line for Cawdor! 128 GRUOCH: Does he know? 129 SUTHEN: Not yet. 130 DARCEL: And what about Macduff? 131 SUTHEN: Macduff? 132 He hasn’t said. And Duncan tells me all. 133 GRUOCH: The Thane of Cawdor … 134 SUTHEN: It will be a great 135 Surprise. 136 GRUOCH: And Glamis knows not? 137 SUTHEN: He’s in the dark. 6 | P a g e 138 The king will grant the title once he quells 139 This vile rebellion. 140 DARCEL: You mean when the Thanes 141 Of Fife and Glamis defeat the renegades. 142 SUTHEN: Whatever. You’re just being catty now. 143 DARCEL: Oh my, look at the time. It’s getting late. 144 DARCEL starts to leave. GROUCH follows her. 145 GRUOCH: Indeed, we’ve overstayed our welcome. And 146 I have a … thing tonight. 147 SUTHEN: Ta ta, my loves. 148 And don’t be strangers to your coz. 149 GRUOCH/DARCEL: Ta ta. 150 GRUOCH (aside to DARCEL): That lying bitch knows more than she admits. 151 If only I could hire a witch to charm 152 Her into spilling all the dirt she knew. 153 DARCEL (aside to GRUOCH): I know a few. I mean, they claim to be. 154 But really they’re just fag-ma-fuffs who use 155 Their ‘charms’ to cheat their neighbors out of stuff. 156 I’ve heard they toss some henbane root into 157 Their cauldron, and the brew beguiles the fools 158 With sounds and sights. Hallucinations make 159 Their magic and prognostication seem 160 As true as Jesu Christ. But in the end 7 | P a g e 161 The charms are only lies and double-talk. 162 GRUOCH (aside to DARCEL): Entire nations have been overthrown 163 With lies and double-talk. Forget that wench. 164 I have a duty better suited to 165 Your chatty hags. 166 DARCEL (aside to GRUOCH): And what, pray tell, is that? 167 GRUOCH (aside to DARCEL): Be guiltless of this knowledge, dearest coz, 168 Till thou applaud the deed. But trust me—in 169 The end our husbands will agree to do 170 Whate’er we want them to. 171 DARCEL (aside to GRUOCH): You cunning bitch. 172 Remind me not to fuck with thee. Godspeed. 173 Exit DARCEL. 174 GRUOCH: The Thane of Cawdor—Suthen has betrayed 175 The perfect information. I will bribe 176 Those phony witches to prognosticate 177 A phony fate and then manipulate 178 His knavish superstitions until Death 179 Alone can free the mind of brave Macbeth.
Recommended publications
  • A TASTE of SHAKESPEARE: MACBETH a 52 Minute Video Available for Purchase Or Rental from Bullfrog Films
    A TASTE OF SHAKESPEARE MACBETH Produced by Eugenia Educational Foundation Teacher’s Guide The video with Teacher’s Guide A TASTE OF SHAKESPEARE: MACBETH a 52 minute video available for purchase or rental from Bullfrog Films Produced in Association with BRAVO! Canada: a division of CHUM Limited Produced with the Participation of the Canadian Independent Film & Video Fund; with the Assistance of The Department of Canadian Heritage Acknowledgements: We gratefully acknowledge the support of The Ontario Trillium Foundation: an agency of the Ministry of Culture The Catherine & Maxwell Meighen Foundation The Norman & Margaret Jewison Foundation George Lunan Foundation J.P. Bickell Foundation Sir Joseph Flavelle Foundation ©2003 Eugenia Educational Foundation A Taste of Shakespeare: Macbeth Program Description A Taste of Shakespeare is a series of thought-provoking videotapes of Shakespeare plays, in which actors play the great scenes in the language of 16th and 17th century England, but comment on the action in the English of today. Each video is under an hour in length and is designed to introduce the play to students in high school and college. The teacher’s guide that comes with each video gives – among other things – a brief analysis of the play, topics for discussion or essays, and a short list of recom- mended reading. Production Notes At the beginning and end of this blood- soaked tragic play Macbeth fights bravely: loyal to his King and true to himself. (It takes nothing away from his valour that in the final battle King and self are one.) But in between the first battle and the last Macbeth betrays and destroys King, country, and whatever is good in his own nature.
    [Show full text]
  • Macbeth Act by Act Study
    GCSE ENGLISH LITERATURE MACBETH NAME:_____________________________________ LIT AO1, AO2, AO3 Act One Scene One The three witches meet in a storm and decide when they will meet up again. AO1: What does the weather suggest to the audience about these characters? _______________________________________________________________________________________ _______________________________________________________________________________________ _______________________________________________________________________________________ _______________________________________________________________________________________ AO2: Why are the lines below important? What do they establish about this play? Fair is foul, and foul is fair: Hover through the fog and filthy air. (from BBC Bitesize): In Shakespeare’s time people believed in witches. They were people who had made a pact with the Devil in exchange for supernatural powers. If your cow was ill, it was easy to decide it had been cursed. If there was plague in your village, it was because of a witch. If the beans didn’t grow, it was because of a witch. Witches might have a familiar – a pet, or a toad, or a bird – which was supposed to be a demon advisor. People accused of being witches tended to be old, poor, single women. It is at this time that the idea of witches riding around on broomsticks (a common household implement in Elizabethan England) becomes popular. King James I became king in 1603. He was particularly superstitious about witches and even wrote a book on the subject. Shakespeare wrote Macbeth
    [Show full text]
  • From 'Scottish' Play to Japanese Film: Kurosawa's Throne of Blood
    arts Article From ‘Scottish’ Play to Japanese Film: Kurosawa’s Throne of Blood Dolores P. Martinez Emeritus Reader, SOAS, University of London, London WC1H 0XG, UK; [email protected] Received: 16 May 2018; Accepted: 6 September 2018; Published: 10 September 2018 Abstract: Shakespeare’s plays have become the subject of filmic remakes, as well as the source for others’ plot lines. This transfer of Shakespeare’s plays to film presents a challenge to filmmakers’ auterial ingenuity: Is a film director more challenged when producing a Shakespearean play than the stage director? Does having auterial ingenuity imply that the film-maker is somehow freer than the director of a play to change a Shakespearean text? Does this allow for the language of the plays to be changed—not just translated from English to Japanese, for example, but to be updated, edited, abridged, ignored for a large part? For some scholars, this last is more expropriation than pure Shakespeare on screen and under this category we might find Kurosawa’s Throne of Blood (Kumonosu-jo¯ 1957), the subject of this essay. Here, I explore how this difficult tale was translated into a Japanese context, a society mistakenly assumed to be free of Christian notions of guilt, through the transcultural move of referring to Noh theatre, aligning the story with these Buddhist morality plays. In this manner Kurosawa found a point of commonality between Japan and the West when it came to stories of violence, guilt, and the problem of redemption. Keywords: Shakespeare; Kurosawa; Macbeth; films; translation; transcultural; Noh; tragedy; fate; guilt 1.
    [Show full text]
  • Seven Ladies Macbeth
    Seven Ladies Macbeth by Michael Bettencourt 67 Highwood Terrace #2, Weehawken NJ 07086 201-770-0770 • 347-564-9998 • [email protected] http://www.m-bettencourt.com Copyright © by Michael Bettencourt Offered under the Creative Commons Attribution-Share Alike License http://creativecommons.org/licenses/by-sa/3.0/ DESCRIPTION What came before Lady Macbeth became Lady Macbeth? CHARACTERS • GRUOCH (later, Lady Macbeth) • ELFRIDA (mother of Lady Macbeth)/DUNCAN/GENTLEWOMAN • SOLDIER/GILLACOMGAIN (first husband)/MACBETH’s SQUIRE/DOCTOR/MACDUFF • MACBETH • NURSE/BISHOP/SINT (can be played by a male or female) • CHORUS OF CROWS/GRUOCH’S ATTENDANTS/THE 3 WITCHES CHORUS will wear half-masks made to look like crows. There is nothing but interpretation. * * * * * Scene 1: First Lady Blackness. In the blackness, the sound of ELFRIDA, the queen, in carnal delight and distress—a rising wail halfway between pleasure and lamentation, with a final crescendo halfway between pleasure and a snarl. As this happens, a light up on young GRUOCH. When ELFRIDA is finished, a light up on ELFRIDA slipping on a simple rough cotton caftan. They sit apart, at some distance. They hold each other’s gaze, then GRUOCH looks away. ELFRIDA: Gruoch? We named you Gruoch—I don’t know why. I don’t think you can change it. The name sounds like it crawled out of the throats of crows. Would you like me to remember for you how your world began? Well? Not that you have many memories— GRUOCH: I heard—it—them—the screams—your screams—they—shook me—as I— SEVEN LADIES MACBETH • Page 1 GRUOCH makes a sliding motion with her hand: slipping out of the womb.
    [Show full text]
  • Lady Macbeth
    Lady Macbeth Critic: Anna Brownell Jameson, Mrs. Source: Shakespear's Heroines: Characteristics of Women, Moral, Poetical, & Historical, George Newnes, Limited, 1897, pp. 309–31. Reprinted in Shakespearean Criticism, Vol. 3 Criticism about: William Shakespeare (1564-1616) Genre(s): Plays; Comedies (Plays); Romantic comedies (Plays); Tragicomedy; Sonnets; Historical drama; Poetry; Tragedies [Jameson was a well-known nineteenth-century essayist. Her essays and criticism span the end of the Romantic age and the beginning of Victorian realism, reflecting elements from both periods. She is best remembered for her study Shakspeare's Heroines (1833), which was originally published in a slightly different form in 1832 as Characteristics of Women: Moral, Poetical, and Historical. This work demonstrates both her historical interests and her sympathetic appreciation of Shakespeare's female characters. In the excerpt below, Jameson presents the first full interpretation of Lady Macbeth, a character later analyzed by William Maginn, H. N. Hudson, and Isador H. Coriat. While Jameson admits that Lady Macbeth is "a terrible impersonation of evil passions," she contends that her character is "never so far removed from our own nature as to be cast beyond the pale of our sympathies." In defense of Lady Macbeth, Jameson points out that the idea to murder Duncan occurs first to Macbeth and that Lady Macbeth does not incite Macbeth to commit the subsequent "gratuitous murders." Jameson also attributes to Lady Macbeth an "amazing power of intellect," a "superhuman
    [Show full text]
  • Macbeth Character Card Sort
    Macbeth Character Card Sort SORT OUT THE CARDS INTO TWO PILES AND USE THE DESCRIPTIONS TO MATCH UP THE CHARACTER AND THE CORRECT NAME THE THREE WITCHES MACBETH LADY MACBETH BANQUO DONALBAIN MALCOLM LENNOX THE PORTER ROSS LADY MACDUFF MACDUFF DUNCAN FLEANCE © 2003 www.teachit.co.uk m237char Page 1 of 5 Macbeth Character Card Sort These characters add an element of Thane of Glamis and Cawdor, a general supernatural and prophecy to the play. in the King's army and husband he is a They each have a familiar, such as basically good man who is troubled by Graymalkin and Paddock, and are his conscience and loyalty though at the commanded by Hecate, a Greek goddess same time ambitious and murderous. He of the moon and witchcraft. They can is led to evil initially by the witches' use sieves as boats, and they can predictions and then by his wife's become an animal. They are described goading, which he gives into because he as having beards but looking human. loves her so. This woman is a good wife who loves her Thane of Lochaber, a general in the husband. She is also ambitious but lacks King's army. This man is the opposite the morals of her husband. To achieve of Macbeth, showing an alternate her ambition, she rids of herself of any reaction to prophecy. He keeps his kindness that might stand in the way. morals and allegiances, but ends up However, she runs out of energy to dying. He is brave and ambitious, but suppress her conscience and kills this is tempered by intelligence.
    [Show full text]
  • Macbeth in World Cinema: Selected Film and Tv Adaptations
    International Journal of English and Literature (IJEL) ISSN 2249-6912 Vol. 3, Issue 1, Mar 2013, 179-188 © TJPRC Pvt. Ltd. MACBETH IN WORLD CINEMA: SELECTED FILM AND TV ADAPTATIONS RITU MOHAN 1 & MAHESH KUMAR ARORA 2 1Ph.D. Scholar, Department of Management and Humanities, Sant Longowal Institute of Engineering and Technology, Longowal, Punjab, India 2Associate Professor, Department of Management and Humanities, Sant Longowal Institute of Engineering and Technology, Longowal, Punjab, India ABSTRACT In the rich history of Shakespearean translation/transcreation/appropriation in world, Macbeth occupies an important place. Macbeth has found a long and productive life on Celluloid. The themes of this Bard’s play work in almost any genre, in any decade of any generation, and will continue to find their home on stage, in film, literature, and beyond. Macbeth can well be said to be one of Shakespeare’s most performed play and has enchanted theatre personalities and film makers. Much like other Shakespearean works, it holds within itself the most valuable quality of timelessness and volatility because of which the play can be reproduced in any regional background and also in any period of time. More than the localization of plot and character, it is in the cinematic visualization of Shakespeare’s imagery that a creative coalescence of the Shakespearean, along with the ‘local’ occurs. The present paper seeks to offer some notable (it is too difficult to document and discuss all) adaptations of Macbeth . The focus would be to provide introductory information- name of the film, country, language, year of release, the director, star-cast and the critical reception of the adaptation among audiences.
    [Show full text]
  • Lady Macbeth, the Ill-Fated Queen
    LADY MACBETH, THE ILL-FATED QUEEN: EXPLORING SHAKESPEAREAN THEMES OF AMBITION, SEXUALITY, WITCHCRAFT, PATRILINEAGE, AND MATRICIDE IN VOCAL SETTINGS OF VERDI, SHOSTAKOVICH, AND PASATIERI BY 2015 Andrea Lynn Garritano ANDREA LYNN GARRITANO Submitted to the graduate degree program in Music and the Graduate Faculty of The University of Kansas in partial fulfillment of the requirements for the degree of Doctor of Musical Arts. ________________________________ Chairperson, Dr. Roberta Freund Schwartz ________________________________ Prof. Joyce Castle ________________________________ Dr. John Stephens ________________________________ Dr. Kip Haaheim ________________________________ Dr. Martin Bergee Date Defended: December 19, 2014 ii The Dissertation Committee for ANDREA LYNN GARRITANO Certifies that this is the approved version of the following dissertation: LADY MACBETH, THE ILL-FATED QUEEN: EXPLORING SHAKESPEAREAN THEMES OF AMBITION, SEXUALITY, WITCHCRAFT, PATRILINEAGE, AND MATRICIDE IN VOCAL SETTINGS OF VERDI, SHOSTAKOVICH, AND PASATIERI ______________________________ Chairperson, Dr. Roberta Freund Schwartz Date approved: January 31, 2015 iii Abstract This exploration of three vocal portrayals of Shakespeare’s Lady Macbeth investigates the transference of themes associated with the character is intended as a study guide for the singer preparing these roles. The earliest version of the character occurs in the setting of Verdi’s Macbeth, the second is the archetypical setting of Lady Macbeth found in the character Katerina Ismailova from
    [Show full text]
  • Lady Macbeth and Performing Femininity in the Early 1600S – Late 1900S Phyllis Lebert University of Arkansas, Fayetteville
    University of Arkansas, Fayetteville ScholarWorks@UARK Theses and Dissertations 5-2019 “A Woman’s Story”: Lady Macbeth and Performing Femininity in the Early 1600s – Late 1900s Phyllis LeBert University of Arkansas, Fayetteville Follow this and additional works at: https://scholarworks.uark.edu/etd Part of the Literature in English, British Isles Commons, and the Women's Studies Commons Recommended Citation LeBert, Phyllis, "“A Woman’s Story”: Lady Macbeth and Performing Femininity in the Early 1600s – Late 1900s" (2019). Theses and Dissertations. 3164. https://scholarworks.uark.edu/etd/3164 This Thesis is brought to you for free and open access by ScholarWorks@UARK. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of ScholarWorks@UARK. For more information, please contact [email protected]. “A Woman’s Story”: Lady Macbeth and Performing Femininity in the Early 1600s – Late 1900s A thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts in English by Phyllis Kay LeBert University of Arkansas Bachelor of Arts in English, 2010 May 2019 University of Arkansas This thesis is approved for recommendation to the Graduate Council. ___________________________________ Joseph Candido, Ph.D. Thesis Director ____________________________________ ____________________________________ John DuVal, Ph.D. Robert Cochran II, Ph.D. Committee Member Committee Member Abstract This paper uses gender studies to understand the themes of gender performance further, and more specifically, femininity, in Shakespeare’s Macbeth. It also explores the many ways feminine gender performance has changed as society has changed. Thus, proving gender is performative rather than innate. It does this by examining first the text within the context of Elizabethan society.
    [Show full text]
  • Furious: Myth, Gender, and the Origins of Lady Macbeth
    City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 9-2019 Furious: Myth, Gender, and the Origins of Lady Macbeth Emma King The Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/3431 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] FURIOUS: MYTH, GENDER, AND THE ORIGINS OF LADY MACBETH by EMMA KING A master’s thesis submitted to the Graduate Faculty in Liberal Studies in partial fulfillment of the requirements for the degree of Master of Arts, The City University of New York 2019 ii © 2019 EMMA KING All Rights Reserved iii Furious: Myth, Gender, and the Origins of Lady Macbeth by Emma King This manuscript has been read and accepted for the Graduate Faculty in Liberal Studies in satisfaction of the thesis requirement for the degree of Master of Arts. Date Tanya Pollard Thesis Advisor Date Elizabeth Macaulay-Lewis Executive Officer THE CITY UNIVERSITY OF NEW YORK iv ABSTRACT Furious: Myth, Gender, and the Origins of Lady Macbeth by Emma King This thesis attempts to understand the fabulously complex and poisonously unsettling Lady Macbeth as a product of classical reception and intertextuality in early modern England. Whence comes her “undaunted mettle” (1.7.73)? Why is she, like the regicide she helps commit, such a “bloody piece of work” (2.3.108)? How does her ability to be “bloody, bold, and resolute” (4.1.81), as Macbeth is commanded to be, reflect canonical literary ideas, early modern or otherwise, regarding women, gender, and violence? Approaching texts in the literary canon as the result of transformation and reception, this research analyzes the ways in which Lady Macbeth’s gender, motivations, and words can be understood as inherently intertextual.
    [Show full text]
  • Chicago Shakespeare in the Parks Tour Into Their Neighborhoods Across the Far North, West, and South Sides of the City
    ANNOUNCING OUR 2018/2019 SEASON —The Merry Wives of Windsor Explosive, Pulitzer Prize-winning drama. Shakespeare’s tale of magic and mayhem—reimagined. The “76-trombone,” Tony-winning musical The Music Man. And so much more! 5-play Memberships start at just $100. We’re Only Alive For A Short Amount Of Time | How To Catch Creation | Sweat The Winter’s Tale | The Music Man | Lady In Denmark | Twilight Bowl | Lottery Day GoodmanTheatre.org/1819Season 312.443.3800 2018/2019 Season Sponsors MACBETH Contents Chicago Shakespeare Theater 800 E. Grand on Navy Pier On the Boards 10 Chicago, Illinois 60611 A selection of notable CST events, plays, and players 312.595.5600 www.chicagoshakes.com Conversation with the Directors 14 ©2018 Chicago Shakespeare Theater All rights reserved. Cast 23 ARTISTIC DIRECTOR CARL AND MARILYNN THOMA ENDOWED CHAIR: Barbara Gaines EXECUTIVE DIRECTOR: Playgoer's Guide 24 Criss Henderson PICTURED: Ian Merrill Peakes Profiles 26 and Chaon Cross COVER PHOTO BY: Jeff Sciortino ABOVE PHOTO BY: joe mazza A Scholar’s Perspective 40 The Basic Program of Liberal Education for Adults is a rigorous, non- Part of the John W. and Jeanne M. Rowe credit liberal arts program that draws on the strong Socratic tradition Inquiry and Exploration Series at the University of Chicago. There are no tests, papers, or grades; you will instead delve into the foundations of Western political and social thought through instructor-led discussions at our downtown campus and online. EXPLORE MORE AT: graham.uchicago.edu/basicprogram www.chicagoshakes.com 5 Welcome DEAR FRIENDS, When we first imagined The Yard at Chicago Shakespeare and the artistic capacity inherent in its flexible design, we hoped that this new venue would invite artists to dream big as they approached Shakespeare’s work.
    [Show full text]
  • 10-12-2019 Macbeth Eve.Indd
    GIUSEPPE VERDI macbeth conductor Opera in four acts Marco Armiliato Libretto by Francesco Maria Piave production Adrian Noble and Andrea Maffei, based on the play by William Shakespeare set and costume designer Mark Thompson Saturday, October 12, 2019 lighting designer 8:30–11:40 PM Jean Kalman choreographer Sue Lefton Last time this season The production of Macbeth was made possible by a generous gift from Mr. and Mrs. Paul M. Montrone Additional funding was received from Mr. and Mrs. William R. Miller; Hermione Foundation, Laura Sloate, Trustee; and The Gilbert S. Kahn & John J. Noffo Kahn Endowment Fund Revival a gift of Rolex general manager Peter Gelb jeanette lerman-neubauer music director Yannick Nézet-Séguin 2019–20 SEASON The 111th Metropolitan Opera performance of GIUSEPPE VERDI’S macbeth conductor Marco Armiliato in order of appearance macbeth fle ance Željko Lučić Misha Grossman banquo a murderer Ildar Abdrazakov Richard Bernstein l ady macbeth apparitions Anna Netrebko a warrior Christopher Job l ady-in-waiting Sarah Cambidge a bloody child Meigui Zhang** a servant Bradley Garvin a crowned child Karen Chia-Ling Ho duncan a her ald Raymond Renault Yohan Yi malcolm a doctor Giuseppe Filianoti Harold Wilson macduff Matthew Polenzani Saturday, October 12, 2019, 8:30–11:40PM MARTY SOHL / MET OPERA A scene from Chorus Master Donald Palumbo Verdi’s Macbeth Assistants to the Set Designer Colin Falconer and Alex Lowde Assistant to the Costume Designer Mitchell Bloom Musical Preparation John Keenan, Yelena Kurdina, Bradley Moore*, and Jonathan C. Kelly Assistant Stage Directors Eric Sean Fogel and Gina Lapinski Stage Band Conductor Bradley Moore* Fight Director Joe Isenberg Italian Coach Hemdi Kfir Prompter Yelena Kurdina Scenery, properties, and electrical props constructed and painted in Metropolitan Opera Shops Costumes executed by Metropolitan Opera Costume Department Wigs and Makeup executed by Metropolitan Opera Wig and Makeup Department This production uses flash effects.
    [Show full text]