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Tackling Challenging Issues in Shakespeare for Young Audiences

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Tackling Challenging Issues in Shakespeare for Young Audiences Shrews, Moneylenders, Soldiers, and Moors: Tackling Challenging Issues in Shakespeare for Young Audiences DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Elizabeth Harelik, M.A. Graduate Program in Theatre The Ohio State University 2016 Dissertation Committee: Professor Lesley Ferris, Adviser Professor Jennifer Schlueter Professor Shilarna Stokes Professor Robin Post Copyright by Elizabeth Harelik 2016 Abstract Shakespeare’s plays are often a staple of the secondary school curriculum, and, more and more, theatre artists and educators are introducing young people to his works through performance. While these performances offer an engaging way for students to access these complex texts, they also often bring up topics and themes that might be challenging to discuss with young people. To give just a few examples, The Taming of the Shrew contains blatant sexism and gender violence; The Merchant of Venice features a multitude of anti-Semitic slurs; Othello shows characters displaying overtly racist attitudes towards its title character; and Henry V has several scenes of wartime violence. These themes are important, timely, and crucial to discuss with young people, but how can directors, actors, and teachers use Shakespeare’s work as a springboard to begin these conversations? In this research project, I explore twenty-first century productions of the four plays mentioned above. All of the productions studied were done in the United States by professional or university companies, either for young audiences or with young people as performers. I look at the various ways that practitioners have adapted these plays, from abridgments that retain basic plot points but reduce running time, to versions incorporating significant audience participation, to reimaginings created by or with student performers. I also examine programming ii that occurs alongside productions, such as pre or post-show workshops and post- show discussions. I conclude by offering a collection of best practices, gleaned both from my study of these individual productions and from research in fields like applied theatre and educational theory. iii Acknowledgments Thanks to: The many theatre artists who took time to speak with me as a part of this research, including Christine Albright, Chris Anthony, Julia Ashworth, Michael Bahr, Misha Fristensky, Shelly Gaza, Malloree Hill, Megan Sanborn Jones, Lillian Kass, Teresa Dayley Love, Maggie Lou Rader, Michael Rohd, and Elizabeth Tobias. Special thanks to Marilyn Halperin, who very kindly met with me during my several visits to Chicago Shakespeare Theater and arranged for me to observe a rehearsal of the 2015 CPS Shakespeare production of Macbeth. The Ohio State University/Royal Shakespeare Company partnership, especially Jacqui O'Hanlon, Rachel Gartside, and Miles Tandy of the RSC, and Mo Ryan of OSU, for giving me the opportunity to learn and practice active approaches to teaching Shakespeare, and for helping lead me to this research. Dr. Jill Galvan and my colleagues in the Autumn 2015 dissertation seminar, who pushed and questioned my research in insightful, productive ways. iv My fellow graduate students in the Department of Theatre, especially Allison Brogan, with whom I have traversed the long road of graduate school from the very first step. My dissertation committee: my adviser, Dr. Lesley Ferris, for her support and insight over the past six years; Dr. Jennifer Schlueter, for her always keen and thoughtful advice on this project; Dr. Shilarna Stokes, for her help in shaping this work, especially through the department’s research-in-progress colloquium; and Professor Robin Post, for her perspective on applied theatre and working with challenging issues. My father, for his constant encouragement and always believing in me. Andy, for sticking by me through the ups, downs, and in-betweens, and always being my light in the dark. v Vita 2004…………………………………………….............. New Trier High School 2008……………………………………………………... B.A. Theatre & English, Tufts University 2012……………………………………………………... M.A. Theatre, The Ohio State University 2011 to present………………...…………………… Graduate Teaching Associate, Department of Theatre, The Ohio State University Fields of Study Major Field: Theatre vi Table of Contents Abstract ...................................................................................................................................................... ii Acknowledgments ................................................................................................................................. iv Vita............................................................................................................................................................... vi List of Figures .......................................................................................................................................... ix Chapter 1: How Do You Solve a Problem like Katharina? (Or Shylock, Henry, or Othello?) ..................................................................................................................................................... 1 Literature Review ............................................................................................................................................. 11 Methodology ....................................................................................................................................................... 17 Chapter Outline ................................................................................................................................................. 21 Chapter 2: Make It a Love Story: Abridgments of Taming of the Shrew for Young Audiences ................................................................................................................................................ 24 Chicago Shakespeare Theater ..................................................................................................................... 31 Utah Shakespeare Festival ............................................................................................................................ 43 Oregon Shakespeare Festival—A Possible Workshop Model ........................................................ 62 Conclusion ........................................................................................................................................................... 71 Chapter 3: Taking the Stage: Audience Participation in Brigham Young University’s Young Company.................................................................................................................................... 75 The Setup ............................................................................................................................................................. 83 Audience Investment ...................................................................................................................................... 90 Henry V ............................................................................................................................................................. 90 Merchant of Venice ...................................................................................................................................... 98 Audience Engagement Outside of Performance: Workshops ..................................................... 110 Underlying Philosophies ............................................................................................................................ 113 Conclusion ........................................................................................................................................................ 120 Chapter 4: Speak the Speech!: Producing Challenging Plays with Young Performers ................................................................................................................................................................... 122 Will Power to Youth ..................................................................................................................................... 125 CPS Shakespeare ............................................................................................................................................ 132 PROJECT38 ....................................................................................................................................................... 152 Ensemble Building ................................................................................................................................... 153 Othello ........................................................................................................................................................... 154 The Taming of the Shrew ....................................................................................................................... 157 The Merchant of Venice .......................................................................................................................... 160 PROJECT38 Teaching Artists ............................................................................................................... 162 Conclusion ........................................................................................................................................................ 165 Chapter 5: The Work Being Done
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