This article was downloaded by: 10.3.98.104 On: 25 Sep 2021 Access details: subscription number Publisher: Routledge Informa Ltd Registered in England and Wales Registered Number: 1072954 Registered office: 5 Howick Place, London SW1P 1WG, UK
The Shakespearean World
Jill L. Levenson, Robert Ormsby
Shakespeare on American Stages
Publication details https://www.routledgehandbooks.com/doi/10.4324/9781315778341.ch3 James C. Bulman Published online on: 27 Mar 2017
How to cite :- James C. Bulman. 27 Mar 2017, Shakespeare on American Stages from: The Shakespearean World Routledge Accessed on: 25 Sep 2021 https://www.routledgehandbooks.com/doi/10.4324/9781315778341.ch3
PLEASE SCROLL DOWN FOR DOCUMENT
Full terms and conditions of use: https://www.routledgehandbooks.com/legal-notices/terms
This Document PDF may be used for research, teaching and private study purposes. Any substantial or systematic reproductions, re-distribution, re-selling, loan or sub-licensing, systematic supply or distribution in any form to anyone is expressly forbidden.
The publisher does not give any warranty express or implied or make any representation that the contents will be complete or accurate or up to date. The publisher shall not be liable for an loss, actions, claims, proceedings, demand or costs or damages whatsoever or howsoever caused arising directly or indirectly in connection with or arising out of the use of this material. Downloaded By: 10.3.98.104 At: 23:23 25 Sep 2021; For: 9781315778341, chapterThree, 10.4324/9781315778341.ch3 capacity toinhabitacharacter subtlyconvincing(Shattuck1976:67–70). Performing an actingstylebothcerebral andrefi ned, his verse-speakingrichlynuancedandhis English tragedianonhisthird American tour, celebratedby Anglophile audiences for they disliked. PerformingattheOperaHouse thatweekwas William Macready, an working-class audiencesthat hadgrownaggressivelydemonstrativeatperformances the upperechelonsofNew York societytoexclude, throughlocationandticketprices, Shakespeare onthe American stage. The OperaHousehadbeenbuiltasavenuefor the perceivedrivalrybetweenBritishand American actorsovertheownershipof prized.that Americans damentally atoddswiththeruggedindividualismand democratic self-determination ingly wereviewedasrepresentativesofaculturenotonly effeteandélitist, butfun- whom Americans wereintheprocessofclaimingastheir own. These actors increas- and whowerewidelyrecognizedasthemostskilled interpretersofaplaywright had dominatedShakespeareanperformancesin America sincetheeighteenth century Thisjingoisticattitudeposedaparticularproblemfor Englishactors, whosetours W. Levinewrites: issues, andtoexpressoppositionthetastesvaluesofoneanother. Lawrence economic groupscouldgathertobeentertained, toargueaboutsocialandpolitical the Internettoday. They wereplaceswhereaudiencesdrawnfromdifferentsocio- Theatresinmid-nineteenth-century America servedmuchthesamefunctionas SHAKESPEAREON AMERICAN STAGES Theriotoutsidethe Astor PlaceOperaHouseon10May1849brought toahead even borderingonunpatrioticoraristocraticbehaviorwasanathema. behavior, outofkeepingwiththeuniquenature American society. Anything class] audiences’volatilereactiontoanythingtheyconsideredcondescending Howcloselythetheaterregisteredsocietaldissonancecanbeseenin[working- “THEBRITISH ARE COMING!”: SHAKESPEARE REVERED James C. Bulman CHAPTERTHREE 60 (Levine 1988:60) Downloaded By: 10.3.98.104 At: 23:23 25 Sep 2021; For: 9781315778341, chapterThree, 10.4324/9781315778341.ch3 As NigelCliffreports: only afteropeningfi re, killingtwenty-twoandinjuringmorethan150(Figure3.1). bers swellingtoatleast10,000;andarmedmilitiawereabledispersethecrowd others whosharedtheiranti-Britishsentiments, riotedoutsidethetheatre, theirnum- later, whenheagainperformed respectability” (Levine1988:64)nottosuccumbtyrannyofthemob. Three nights ther violence, hewaspersuadedbyalettersignedforty-sevenpersonsof “highest act (Shattuck1976:82). Although Macreadywishedtoleavethecountryavoidfur- chairs ontothestage, forcingMacreadytoabandontheperformanceduringthird interrupted itwithboosandinsults, andhurledfruit, oldshoes, rotteneggs, andeven took itthatway. They boughtticketsinthegalleriesforMacready’s performance, New York maynothavebeenmeantasadeliberateprovocation, hisfanscertainly Thus, althoughForrest’s decisiontoplayMacbethonthesamenightasMacreadyin at timesperformingthesameroleonasubsequentnight(Shattuck1976:70–87). of shadowingMacreadyonhis American tours, followinghimfromcitytoand second traceshowtheemergence ofShakespeareasaProtestantmoralvoiceinpublic and directorson Americans’ viewofhow Shakespeare shouldbeperformed. The ing theCivil War. The fi account fortheevolutionof Shakespeareon American stagessincetheperiodfollow- of the Astor PlaceRiot. Inthefollowingpages, Ioffertwounfoldingnarratives to the contestbetweenhighbrowandlowbrowcultures from whatitwasatthetime education hasrefashionedShakespeareanperformance insubtlewaysandaltered across thecountry. Furthermore, theemergence ofShakespeareasaplayerinpublic deeply rootedinBritishtheatricalpractices, yetpopulisttraditionspersist onstages defi ned, asculture. come tobeownedbytheeducatedéliteasseriousfare –or, asthewordcametobe the repertoryofpopulartheatres;andbylatenineteenth centuryhisplayshad performances oftheplaysformuchcentury, Shakespearewasdroppedfrom (Cliff 2007:264). Strippedofthelowbrowentertainmentthathad accompanied audiences whereShakespearewas “performed withduedeferencetohisgenius” AftertheCivil War, more cities builtso-calledlegitimatetheatresforaffl Forrest bothperformed for New York’s aristocracyasanaffronttotheirowntrue American values. outspoken egalitarianviewsendearedhimtothosefanswhosawMacready’s affi of Macready(Curtis1863, quotedinLevine1988:57). Forrest’s histrionicactingand the bovinedrama;rant, roar, andrigmarole” atoddswiththemoredisciplinedstyle according toonecritic, whopractised “the brawnyart;thebicepsaesthetics . . . [and] fi at themorepopulistBroadway Theatre thatweekwashisrivalEdwinForrest, America’s rst native-bornShakespeareanstar, ahandsomemanof “the muscularschool,” Notmuchhaschangedinthepastcenturyandahalf. American Shakespeareisstill Fans, ofcourse, cangetoutofcontrol. Ontheeveningof7May, Macreadyand riot washastenedbyit. speare. The segregationofaudiencesbyclassandtastewhichhadprovokedthe thevictoryin Astor Placewenttotheelite, butitwasnotavictoryforShake- — Shakespeare on American stages— rstaddressestheabidinginfl uenceofBritishteachers, actors, Macbeth Macbeth . Forrest, perhapsowingtojealousy, hadahabit 61 at Astor Place, Forrest’s fans, joinedby (Cliff 2007:263) uent nity Downloaded By: 10.3.98.104 At: 23:23 25 Sep 2021; For: 9781315778341, chapterThree, 10.4324/9781315778341.ch3 asan ‘immersive’ event” (Worthen 2012: 96)inwhichscenesaremimedthroughout from spring2013to2014, fourmajorproductionsof to populartastesthantheirBritishcounterparts. Letmeillustrate. Within oneyear, as lessskilledandnuanced, and American directorsasmorewillingtopander regarded astheultimatearbitersofShakespeare. American actorsareoftenderided Persistent Anglophilia hasensuredthatinurbancentresofculturetheBritish arestill staked toShakespeareon American stagesareworthexploring. intersecting claimsthatBritishtheatrepractitionersand American educatorshave that haveshapedhowShakespeareisperformedtoday. Nevertheless, theseparatebut force. These twonarrativesalone, ofcourse, cannotencompassthemyriadinfl tivals aroundthecountryandseededgrowthoffestivalcultureasaneducational education sincethelatenineteenthcenturyhasledtoafl oweringofShakespearefes- specifi theatre, intheviewofcritics, seemsunableto equal. of imaginativeresponsesto theplayandalevelofprofessionalismthat American the standardforperformingShakespeare. The threeBritishproductionsshowarange cultural inferiority, and how readilytheyhaveembracedtheideathatBritishset deeply American theatrecriticsandeducatedaudienceshaveabsorbed asenseof in New York, threeofthemBritish andone American. Their receptionrevealshow Thefi rst ofthemtoopen, andstillrunningasIwritethischapter, wasasite- c work createdbyBritishtheatrecompanyPunchdrunk that “replay[s] © The FolgerShakespeareLibrary/Mary EvansPictureLibrary Riotatthe Astor PlaceOperaHouse, New York. Figure3.1 RIVAL MACBETHS REDUX — James C. Bulman— 62 Macbeth wererunning Macbeth uences Downloaded By: 10.3.98.104 At: 23:23 25 Sep 2021; For: 9781315778341, chapterThree, 10.4324/9781315778341.ch3 ters. to interactwithperformerswhosinglethemoutforintimateone-on-oneencoun- and whattowatch, muchasplayersdoinaninteractivevideogame, andoccasionally that loopsthreetimes, givingspectatorsampleopportunitytochoosewherego Rather, theydancetheplay, theirchoreographedmovementstimedtoamusicalscore blood inhim?” (5.1.36–8)–theperformersdonotspeakShakespeare’s textatall. by LadyMacbeth– “Yet whowouldhavethoughttheoldmantohadsomuch end intoabanquetinghallwhereMacbethishanged. Apart fromonelinemuttered where theyglimpsefragmentsoftheplayoutsequenceuntilareusheredat 4/14/11) that “encourages youtorethinkthethemesandmotifsin “a sensationalinteractivetheaterpiece” (J.D. Ziemianowicz, any as thenatureoftheateritself” (LukeMurphy, furniture-cluttered roomsandcorridors” (BenBrantley, “on amerry, macabrechaseupanddownstairsthroughminimallyilluminated, the performanceiscalled, requiresspectatorstodon Venetian masksandleadsthem cock, whosefi lmaestheticdeeplyinfl uencedtheproductiondesign. a six-storeywarehouserechristenedtheMcKittickHotelinhomageto Alfred Hitch- rich readingoftheplay” (MarkFisher, social qualities, yetsuchareCumming’s giftsasanactor, wealsoget anuncommonly interpretation emphasizespsychopathology “at theexpenseofplay’s politicaland Jesse Green; “he’s tirelessandbrave” ( (Linda Winer, reveals “intensity,”performance whose “fi It provides “a dark, visceral, altogetherlucidbravurashowcase” forCumming, EntertainmentWeekly ing” (MarkFisher, “It isasifonlyShakespeare’s characters . . . can articulatethementaltraumaheissuffer- 4/21/13), usingsubtleshiftsinvocalregister, gait, anddresstomarkthechanges. as hesnapsfromonepersontothenext” (CharlesIsherwood, possession ofthisdisturbedfellow, whofl itsmanicallyaroundthegreen-tiled room Macbeth who hasobviouslyexperiencedorperpetratedaviolentcrime, enactsalltherolesin 4/21/13) inwhich Alan Cumming, playingapsychoticisolatedinmentalward of Scotland, was “a radicalone-manreimagining” oftheplay(MarkFisher, not hyperboletosaythatBranagh wasborntoplayMacbeth,” wroteMarilynStasio urgency wasmanifestedbest inthevisceralperformanceofBranaghhimself. “It’s place wherethedarkurges of thefl eshstruggled against theforcesoflight, andsuch and toprimalurges. Performancesembodied thisviewofmedievalScotlandasa end; attheother, paganstonesresembling thoseatStonehenge, hometothewitches pulled attheplay’s characters:aChristianaltarforspiritualenlightenmentatone mud intherainofbattle. Setpiecesateitherendrepresentedthepolar cultures that set intheDrillHallofPark Avenue Armory thatwasfullofdirtwhichturnedto his New York debut. This wasaviolent originated attheManchesterInternationalFestivaland featuredKennethBranaghin Thesecond Themosteagerlyanticipated Macbeth Sleep NoMore asawaytoexorcisehispersonaldemons. “One byonethecharacterstake you’veeverseen” (Elisabeth Vincintelli, Newsday Macbeth — Shakespeare on American stages— Variety waspraisedbycriticsas “thrilling, mind-bending” and “unlike , 4/21/13), remarkablyinventiveinitscompressionoftheplay. , 4/21/13). Cumming’s verse-speakingis “outstanding,” wrote toopen, directedbyJohn Tiffany fortheNational Theatre , 4/21/13). The resultis “mesmerizing theater” (ThomGeier, Macbeth New YorkMagazine Variety , 4/21/13). Macbeth 63 erce discipline,” andextraordinary “range” toopenduringthe2013/14theatreseason Entertainment Weekly , 4/13/11). , performedacrossahugetraverse New YorkPost New York Times , 4/21/13). Although this New York Daily News Sleep NoMore New York Times Macbeth , 4/14/11), and , 4/13/11) Variety aswell , as , as , , ,
Downloaded By: 10.3.98.104 At: 23:23 25 Sep 2021; For: 9781315778341, chapterThree, 10.4324/9781315778341.ch3 enough forbothofthem. And whensheopenshermouth, atrainedvoicecomes out” British actress Anne-Marie Duff, who “does mostoftheheavylifting. . . . She’s fi (Ben Brantley, “few oftheperformers . . . give youaclueastowhytheircharactersacttheydo” York Magazine the linesinsteadofduringthem. . . . Andverse[is]thus emptiedofthought” ( is simplynotstagetechnique. Hemakesthefi requiring differentactingskills: “much ofthetextisgarbled . . . [Hawke’s] technique view ofJesseGreen, thiswasthefaultofcastinganaturalisticscreenactor inarole identify.” And withoutaninteriorlife, thisMacbethwasdramaticallyinert. Inthe etrable sullenness, henevergivesusentrytoaninteriorlifewithwhich wemight inimpen- an heirtothepetulantHamletheplayedonscreenyears ago . . . [H]ooded lamented BenBrantley( many ofhislines,”an issueforreviewersofthisproduction. “Hawke . . . swallows hash ofShakespeare’s poetry” (MarilynStasio, ambition drivingthistragichero’s murderousdeeds. And hismuffl Tribune name isonthemarquee;areactive, overlyinactiveMacbeth” (ChrisJones, purpose. Hawke “is atragicherowithoutdrive;protagonistwhoforgetswhose and Branaghtookpainstoforeground. sibility, thusevisceratingthepsychologicaldimensionoftragedythatCumming their roleasomnipotentagentswhodeprivedMacbethofanyautonomyorrespon- biggest gimmickwastocastthewitchesasseasonedactorsindragandexpand than ofShakespeare, emphasizedshowyentertainmentattheexpenseoftext. His Globe inSanDiegoandnownotedmoreforhisproductionsofpopularmusicals speare productionsinthenineteenthcentury, O’Brien, longadirectoroftheOld Witches! Shinyweapons!” ( Lightning!Blood!Gore! the spectacularvisualandacousticeffectsof . . . Thunder! acting,” complainedMarilynStasio; “but there’s muchlowbrowfuntobehadfrom dits. “The play’s notquitethethinginthishigh-conceptrevival, anditsureisn’t the play forBroadway.” Buttelevision-inspiredShakespeareseldomwinscriticalplau- ( is populistandadventurous,” assertedChrisJonesinhislargelynegativereview lavish sets, impressivespecialeffects, butforgettableperformances. “The atmosphere demned forpanderingtothelowestcommondenominatorof American tastes. Ithad tickets goingforupto$350. Shakespeareans, provedtobethemostsought-afterShakespeareofseason, with Unsurprisingly, thisaction-packedthriller, playedtothehiltbyoneofBritain’s great organically fromthewickedhurly-burlyonstage” ( There’s notalinespokenthatdoesn’t seemtohavegrown . . . in itsadrenaline. tion, hewrote, directedwithimmense “care andintelligence,” “saturates everyone 6/5/14). BenBrantley’s praisefortheactingwasunalloyed:this “thrilling” produc- iar lineswithenormousdepthandasplendidlackofself-consciousness” ( and surprisinglystraightforwardexperience” inwhich “Branagh . . . speaks thefamil- ( Chicago Tribune Variety Asaresult, theperformances, especiallyEthanHawke’s Macbeth, seemedtolack Incontrast, the , 11/21/13);a “phlegmatic Macbeth, tooapathetictoconveytheferocious , 6/6/14). Linda Winer concurred:theperformanceprovideda “harrowing New York Times , 11/21/13). Yet Hawke was notaloneinseemingdevoidofthought: , 11/21/13); “a certain ‘Game of Thrones’ hotnessjuicesupthis Macbeth New York Times — James C. Bulman— directedbyJackO’BrienatLincolnCenterwascon- Variety , 11/21/13). The exception wastheLadyMacbethof , 11/22/13). InthetraditionofpopulistShake- , 11/21/13). “His isamumblecoreMacbeth, 64 lmactor’s mistakeofthinkingbetween Variety , 11/22/13). Dictionwasclearly New York Times ed dictionmakes Newsday , 6/5/14). Chicago New New erce , Downloaded By: 10.3.98.104 At: 23:23 25 Sep 2021; For: 9781315778341, chapterThree, 10.4324/9781315778341.ch3 more thanfortyyearsearlier) garneredenthusiasticpressfortheShakespeare Theatre Baxter, aBritishactorwhohadplayedHal inOrson Welles’s the Public Theater. Morerecently, directorDavidLeveauxstageda production ofthetwoparts of only whiteactorinanotherwise African-American cast. RSC directorBill Alexander’s play’s racism insideoutbycastingBritishactorPatrickStewart intheleadrole, the tors, tostagewhatcamebecalledthe “photo negative” for example, thecompanyinvitedJudeKelly, oneofBritain’s foremostfemale direc- particularly receptivetoemployingBritishtalentstrengthen itsofferings. In1997, beth starring BritishactorOrlandoBloomonBroadwayin thesameseasonas staged controversialproductionsof speare productionsonBroadwayinthe1950s. Avant-garde directorStevenBerkoff Old Vic directorMichaelBenthall, forexample, stagedanumberofacclaimedShake- speare productionsinmajorcitiessuchasBoston, New York, and Washington, DC. gaudy” ( completely intheoriginalwords, make[O’Brien’s] productions of vourable comparison: “The triumphantlystraightforwardShakespeare’s Globe Macbeth two productionsthatsoldoutonBroadwayinthesameseasonJackO’Brien’s from Shakespeare’s Globehavebeenbroughtto America togreatacclaim:witnessthe ous sponsorshipoftheRSC todoresidenciesin Ann Arbor. Since1997, productions repertory. Furthermore, since2001theUniversityofMichiganhasprovidedgener- of theRSC’s Stratfordstageforasix-weekresidencyofthefi veplayscurrentlyinits as in2011, whenNew York’s Park Avenue Armory wasreconfi guredwithareplica mation in1961, sometimesplayinginmultiplecitiesandatothertimesonlyone, tours. The RoyalShakespeareCompany(RSC) hasbeendoingsoalmostsinceitsfor- today. The followingparagraphswillprovideevidenceofthisculturalbias. companies, directors, andactorscontinuetoholdfascinationfor American audiences ican stageswiththeirperformancesofShakespeare’s greatestroles, soBritishtheatre view Shakespeare. Justas, inthenineteenthcentury, Britishactorsdominated Amer- say morelater–aresidual Anglophilia continuestoaffecthoweducated Americans the myriadsummerShakespearefestivalsthatdotcountry, aboutwhichIshall Although America bynowhasahome-grownShakespearefi rmlyinplace–witness the clashbetweenhighandlowculturethatsuchproductionsostensiblyrepresent. preference forBritishactorsanddirectorsinperformancesofShakespeare, andto Thecriticalreceptionoftheseproductionsatteststothepersistence Americans’ American actorsare. better trainedtounderstand–andthereforespeakShakespeare’s languagethan in thejudgementofeducated American audiences, Britishactorsarestillregardedas (Marilyn Stasio, Britishactorsanddirectors, too, areregularlyinvitedtodirect American Shake- First, majorBritishcompaniesregularlybringShakespearetoNorth America on s discussedabove. The Shakespeare Theatre Companyin Washington hasbeen New York Times , 11/21/13). playedatLincolnCenter. BenBrantleycouldnotresistdrawinganunfa- Twelfth Night Variety — Shakespeare on American stages— , 11/22/13). This lastremarkcutstotheheartofmatter: ROYAL WELCOMES and Henry IV Richard III Coriolanus 65 (in which the King was played by Keith (inwhichtheKingwasplayed byKeith nowonBroadway, whichtrustso in1988and Macbeth Othello Richard II seemponderousand Chimes atMidnight , whichturnedthe Romeo andJuliet in 1994 at in 1994at Mac-
Downloaded By: 10.3.98.104 At: 23:23 25 Sep 2021; For: 9781315778341, chapterThree, 10.4324/9781315778341.ch3 festival inStratford-upon-Avon. HeenlistedEnglishsetdesigner Tanya Moiseiwitsch, a Shakespearerepertorycompany inStratford, Ontario, in 1952, modelledon the rie, directoroftheOld Vic, wasaskedbylocalbusinessman Tom Pattersontofound Stratford FestivalinOntario, Canada–was, ineffect, aBritishimport. Tyrone Guth- tive andexpertise. The mostprestigiousShakespearefestivalin North America – the in classicalrepertorythan American actorsare. that Americans lack, andthatBritishactorsarebettertrainedinverse-speaking is thattheBritishknowhowtoperformShakespeare with aneaseandacommand sums ofmoneytobringtheseactorstheircampuses foraweek. The assumption years, dozensof American collegesanduniversitieshavebeenwillingtopaylarge aplomb” (http://shakespeare.nd.edu/actors-from-the-london-stage/history part oftheirtimetostudentinteraction” and “can handleanyEnglishtextwithequal actor driventour-de-force” inwhich “our classicallytrained actorsdevotealarge envy. The AFTLS websiteadvertisesthattheone-weekresidence programmeis “an and thuscanboastoftraininginShakespeareanacting thatmany American actors (LAMDA), andtheGuildhallSchoolofMusicDramaforemostamongthem– emy ofDramatic Art (RADA), theLondon Academy ofMusicandDramatic Art most ofthemhavedegreesfromprestigiousBritishdramaschools– The Royal Acad- vey ofrecenttoursrevealsthatnotalltheactorshavesuchcredentials. Nevertheless, pany; theRoyalNational Theatre ofGreatBritain;andShakespeare’s Globe,” asur- that actorscome “from suchprestigiouscompaniesastheRoyalShakespeareCom- because itbeganusingnon-affi liatedactors. Althoughthecurrentprogrammeclaims 1985, however, itsnamewasalteredto “Actors fromtheLondonStage” (AFTLS) and DavidSuchet. When thetouringprogrammebecamefi nanciallyindependentin Ben Kingsley, EstelleKohler, Barbara Leigh-Hunt, Richard Pasco, IanRichardson, many ofthebestRSC hadtooffer:Stewarthimself, Tony Church, LisaHarrow, expert trainingthatRSC actorsbroughtto American shores. as manyfortyrolesinoneperformancedemonstratedtheingenuity, versatility, and stunningly inventiveuseofdoubling. The factthatfi a fullShakespeareplay, typicallywithoutscenery, withminimalcostumes, andwith and verse-speaking. The highlightofeachresidencywasafast-pacedperformance and universities, offeringweek-longresidencieswithworkshopsinvoice, movement, whose goalwastobringgroupsoffi veactorsto Americaeachyeartotourcolleges worked withPatrickStewarttolaunchaninitiativecalled “Actors fromtheRSC,” the UKsincemid-1960sforstudentsandteacherstoattendRSC productions– scholar attheUniversityofCalifornia, SantaBarbara, whohadledfrequenttripsto for howShakespeareshouldbeperformed. In1975HomerSwander–aShakespeare 11/4/14). The samepraisewasnotaccordedto Waites’s fellowactors. lar oftheBard’s datedlanguageisexceptional” (AmandaGunther, TheatreBloom.com, es’s delivery, “Her understandingofhowtoexpressemotionthroughthethickvernacu- American cast-mates. Inthewordsofonereviewersurprisedbyintelligence Wait- his ownRosalindwithhiminthepersonofZoë Waites, whoactedringsaroundher Like It Company duringits2004season;andin2014, thecompany’s productionof Indeed, American ShakespearewouldnotbewhatitistodaywithoutBritishinitia- Initsearlyyears, thetouringprogrammefeaturedarosterofactorsthatincluded Duringthepasthalfcentury, theRSC hasbeenincreasinglylookedtoasthemodel was stagedbyanotherRSC director, Michael Attenborough, whobrought — James C. Bulman— 66 ve actorscould managetoplay ) . Forforty As You Downloaded By: 10.3.98.104 At: 23:23 25 Sep 2021; For: 9781315778341, chapterThree, 10.4324/9781315778341.ch3 Scofi ral production, wassoonfollowedbysuchactorsasMaggieSmith, Alan Bates, Paul British actingtalent. Alec Guinness, whoplayedRichardIIIintheFestival’s inaugu- by fellowEnglishmanMichaelLangham. Itsfi Guthrie remainedartisticdirectoroftheFestivaluntil1956, whenhewassucceeded for thefi rstseasonin1953;1956, apermanentstructurewasbuilttoencaseit. Elizabethan playhouses. That revolutionarytheatre, coveredbyatent, wasready sided thruststagethatwouldallowhimtoproduceShakespeareinthemannerof with whomhehadworkedattheOld Vic, todesignanamphitheatrewithafi arship andtheatrepractices. Forthefestival’s fi rstseason, sherecalled, “theRoyal assemble,” averredStanley, bywhichsheineffectmeantthebest Britishschol- est inscholarshipwiththebest andmostadventuroustheaterpractitionerswecould UK bytheEnglishDepartment atSantaCruz. “Our festivalshouldlinkthevery lat- by pioneeringscholarMichael Warren, whohadrecentlybeen hiredawayfromthe practice fortwocenturies, butthecompleteFirstFolioeditionofplay prepared not aconfl ationoftheplay’s QuartoandFirstFoliotexts, ashadbeenthecommon Lear a fundraiser, at whichshesecuredacommitmentfrom Tony Churchtoperform recruited byHomerSwanderforhis “Actors fromtheRSC” programmetoperformat Barber, tofound aShakespearefestivaloncampus, shepersuadedthefi ve RSC actors Oregon Shakespearefestivals. When askedbyherdean, eminentShakespeareanC.L. directing Shakespeareproductionsnotonlyoncampus butalsoattheColoradoand Berkeley. Hiredtoteach attheUniversityofCalifornia, SantaCruz, shesoonwas California inthe1960stodoaPhDDramatic Art attheUniversityof California, versity ofBristolandactingattheOld Vic Theatre School, hadmovedto verse-speaking andprimacyofthetext. Stanley, whohadstudieddramaattheUni- Cruz. Herteachingmethods, likethoseofPackerandLinklater, foregrounded formances, workshops, andresidencies. annually, anditseducationprogrammereachesmorethan50,000studentswithper- tory). Shakespeare& study ofthe Alexander Technique (http://www.shakespeare.org/about/company-his the “natural voice,” anapproachinfl regional theatreinthecountry,” groundedinLinklater’s uniqueapproachtofreeing in launching “one ofthemostuniqueandextensiveactortrainingprogramsbya estate ofnovelistEdith Wharton intheBerkshires, Packer andLinklatersucceeded and verse-speaking. Securingaperformance venueandteachingspacesattheformer actors needtobetrainedbyBritishteacherssteepedintheartsofclassicaltheatre The hierarchyinsuchastatementisclear:todojusticeShakespeare, American shakespeare.org/about-shakespeare-company-2/about-company/company-history). actors and American actors:thespokenwordandphysicalbody” (http://www. of creatingandrunningatheatrecompanythatmergedthepowersuitsBritish founded Shakespeare&CompanyinLenox, Massachusetts, in1978, “with theidea Packer andKristinLinklater, bothofwhomemigratedto America inthe1970s, together da’s biggestculturalattractions. drew crowdstotheFestivalandwithinadecadehelpedestablishitasoneofCana- Afewyearslater, onthe West Coast, Audrey StanleyfoundedShakespeareSanta BritishtheatreprofessionalsalsofoundedShakespearecompaniesintheUS. Tina eld, JamesMason, PeterUstinov, JohnNeville, andBrianBedford. These names forherfestival’s inauguralseasonin1982. Forthatproduction, Stanleyused — Shakespeare on American stages— Company productionsnowdrawmorethan75,000patrons uenced by hertrainingatLAMDA andbyher 67 rstseasonsdrewahostofwell-known King ve- Downloaded By: 10.3.98.104 At: 23:23 25 Sep 2021; For: 9781315778341, chapterThree, 10.4324/9781315778341.ch3 com/audrey-stanley-and-karen-sinsheimer-the-readiness-is-all). Julian Curryreallyliftedthewholelevelofperformance” (http://www.donrothman. thetic mostnotableintheworkof William Poel(pronounced to allowShakespeare’s texttodeterminethepaceandrhythmsofstaging, anaes- twentieth centurytoparebackthepictorialopulenceof Victorian stagingsinorder Stanley –wereshapedbyamovementinBritainthelatenineteenthandearly Theacademicgoalsofthesewomen– Tina Packer, KristinLinklater, and Audrey I hadtousegreatingenuityandfl only twoweeks,” atwhichpointtheywerereplacedbylocalactors. “So asadirector, Shakespeare Companyactorsonlyhadtwoweeksofrehearsalbeforeperformingfor chair, hedirectedaproductionof of DramaatCarnegie Tech (nowCarnegieMellon, Pittsburgh). Inhisfi soon introducedPoel’s principlesintotheteachingofRenaissancedramaatSchool the actorsclosertoaudience. performance; andbyextendingthestageintofi which couldbeswiftlymovedintoplace, consequentlyreducingthelengthofeach clarity; byeschewingelaborate, historicallyaccuratesceneryinfavourofcurtains the Elizabethanspiritofplaysbyhavingactorsspeaktextwithspeedand Granville-Barker attheSavoy Theatre in1912and1914, whichsoughttocapture effects. Hisworkdeeplyinfl uencedtheShakespeareproductionsmountedbyHarley an openstage, andaswiftpaceofperformanceunencumberedbysceneryspecial mance practicesbyusinguncuttexts, aunifi edactingensemblewithoutstaractors, Elizabethan StageSocietyin1895, Poelattemptedtore-createElizabethanperfor- enlist theservicesofRSC actorstohelpget a newShakespearefestivalofftheground. igan, Missouri, Texas, and Washington. At eachoftheseplaceshedemonstratedthe universities acrossNorth America, including, amongothers, Colorado, Iowa, Mich- Theatre (asitcametobecalled) todirectitsfi would bepreservedfollowing theExposition, andPaynereturnedtotheOldGlobe Shakespeares wereremounted. Their popularityensuredthatthereplicaofGlobe Pacifi 2011), thattheyinspiredthebuildingofareplicaGlobefor the California Theatre. These productionsweresosuccessful, especiallyamongschoolchildren(Kegl Shakespeare playsthatwerestagedinacrudereconstruction ofShakespeare’s Globe Tech, Thomas Woods Stevens, producedradically cut, hour-long productions ofseven the secondyearofChicago World’s Fair, PayneandhispredecessoratCarnegie done andquicklywonadherentsintheworldofacademic theatre. In 1934, during immediately accessibletoaudiencesthantraditionalstagings ofShakespearehadever ing actorsoverscenery, andonthepaceoftheirdeliverymadehisproductionsmore play, twenty-sixinall, until1951. Hisemphasisonsimplifi in EnglandasdirectoroftheStratfordMemorial Theatre –todirectaShakespeare Tech in1928, hereturnedeveryyear–withtheexceptionofeightyearsspent as “modifi AdiscipleofPoel, BenIdenPayne, cametotheUSasanacademicin1913and Fromthe1940sto1960s, asguestdirector, Paynetook hisstagingpracticesto c International ExpositioninSanDiego1935, atwhichthesevenabridged ed Elizabethan staging” (Payne1977:157–73). Although heleftCarnegie SHAKESPEAREANPOELDANCING — James C. Bulman— exibility. Buthavingactorslike Tony Churchand Hamlet 68 using the technique he came to describe usingthetechniquehecametodescribe rst SummerShakespeareFestivalin1949. rstfewrowsofthestallstobring edstaging, onforeground-
Indeed, itneverhurtsto po ˉ l ). Foundingthe rst yearas Downloaded By: 10.3.98.104 At: 23:23 25 Sep 2021; For: 9781315778341, chapterThree, 10.4324/9781315778341.ch3 1988: 31). Inthemorecolloquialwordsof columnistGeraldNachman, recalling who weretoswallowhimnot fortheirentertainmentbuteducation” (Levine plays weredisseminatedwith theconvictionthattheywouldenlighten “average folk of society,” Shakespearehadbecomethecountry’s moralandculturalarbiter;his self-betterment (Scheil2012). Nowfi rmlyin “thepossessionoftheeducated portions and attendperformances, bothamateurandprofessional, forpurposesofcultural forming Shakespeareclubsallacrossthecountrytoread theplaysaloud, discussthem, Albanese 2011). devoted exclusivelytoShakespeare(Vaughan and Vaughan 2012: 86–87;seealso 1906, “twenty-fi ask theirstudentstoreadwholeShakespeareplaysin affordableeditions”;andby series ofindividualShakespeareplaysforcollegeuseso that “instructors couldfi and English. Two editors, HenryNormanHudson and William J. Rolfe, prepared ing practicalsciences;andintothevoidleftbyclassics camemodernlanguages tury theyreducedtheiremphasisontheclassicsinorder tomakeroomforteach- develop literaturecurriculabeyondGreekandLatin, inthefi naldecadesofthecen- school experience. Simultaneously, whilecollegesanduniversitieshadbeenslowto 1932: 26), thusensuringthatmany American childrenhadacommonsecondary Vaughan 2012:83). “infl tions ofMcGuffeyincludedmoreShakespearepassagesforthe “special purpose” of and asliteraturegraduallyreplacedtheBiblerequiredreading, successiveedi- moral andreligiousbookswhicharenowputintothehandsofyouth” (1848:1.79); Shakespeare’s playsprovided “a farbetterschoolofvirtuousdisciplinethanhalfthe 82; seealsoBurton2011). As earlyas1848HenryNormanHudsondeclaredthat learning “industriousness, honesty, andmoralprobity” (Vaughan and Vaughan 2012: in upper-school gradesweremadetostudy, recite, andevenmemorizeintheinterestof extracts from “the best American andEnglishwriters” whichgenerationsofchildren in America of American life. As Alden and Virginia Vaughan documentintheir book only ifonelooksintotherolethatShakespearehasplayedindeepculturalhistory Away fromurbancentresofculture, anotherstoryhasunfoldedwhichmakessense Cymbeline residency attheUniversityof Washington inthesummerof1930, whenhedirected speare playsbeforeheretired. Ofperhapsmorelastingimportance, however, washis and at Texas, wherehebecamedepartmentchair, hedirectedtwenty-fourShake- viability ofperformingShakespeareasitwasbelievedElizabethansmighthavedone; War. Sections ofhisplayswerereprintedintheMcGuffey principles forElizabethanstaging. ItbecametheOregonShakespeareFestival. Normal School, wasinspiredtofoundhisownShakespearefestivalbasedonPayne’s Angus Bowmer, whofi For thoseproductions, heemployedashisstagemanageragraduatestudentnamed Inaparalleldevelopment, educatedmenandwomen, butmostlywomen, were By1920, salesofthe uenc[ing] theheartbysoundmoralandreligiousinstruction” (Vaughan and , Shakespearebecamecentralto American educationfollowingtheCivil and ve of America’s thirtyliberalartscollegesofferedatleastonecourse” Love’s Labour’s Lost — Shakespeare on American stages— veyearslater, asayoungfacultymemberatSouthernOregon Reader THEATRICAL SPINACH wereestimatedtohaveexceeded122million(Simon on atemporaryElizabethan-stylethruststage. 69 Reader , acollectionof Shakespeare nally Downloaded By: 10.3.98.104 At: 23:23 25 Sep 2021; For: 9781315778341, chapterThree, 10.4324/9781315778341.ch3 strong intellectuallyliketeacher” ( spinach: He’s goodforyou. Ifyoudigestenoughofhisplays, you’llgrowupbigand how hehadbeenforce-fedShakespeareinschool, “Shakespeare becomestheatrical two performancesof Oregon NormalSchool;andindeed, hisfi saw anopportunityforafestivaltospringfromhisworkwithstudentsatSouthern speare Festival(OSF)in1935, thefi author theyalreadyrevered; consequently, upliftand entertainmentwouldbeserved” ing Shakespeare. “Greet’s approachpromisedtoimprovetheir understandingofan cated inChautauquaaudiences lessonsofcivicvirtueandmoralprobitybyquot- to bealogicalprogression fromthosedramaticoratorswhoforyearshadincul- ductions werewarmlyreceived ontheCircuitChautauquain1913–14:theyseemed make-up, andotherdistractionsthatGod-fearingChristiansobjected to, hispro- duce theatretoaudiencesontheCircuit brochure c. 1911;citedbyCanning2005:195), Greetwastheidealpersontointro- missionary workforthestagesomeyears” (TheBenGreetPlayerspublicity sober self-improvement” (Speaight1954:74), andclaimingtohavedone “important with Poel’s legacyofasimplifi edstagecraftthatstruck “anoteofadulteducationand a celebratedstopatthe White Housetoperformfor Theodore Roosevelt. Armed American collegecampuseswithopen-airproductions from1902to1914, including Poel, withwhomhehadonceworked. Hiscompany, the BenGreetPlayers, toured an EnglishimpresariowhoproducedShakespearein the sparemannerof William tauqua’s educationalmission. promote thesamevaluesasthoseinScripture, andthustobeconsistentwithChau- devil’s work, Shakespearewasallowedasanexception:hisplayswerethoughtto tended tofrownupontheatricalperformanceasafrivoloustemptationdothe were Chautauquasineverystatethenation;andwhilechurch-goingaudiences preachers, musicians, andeventuallyplaystothehinterland. Bythe1910s, there preachers, Chautauquahadgrownintoanindustrythatbroughttravellingspeakers, in ruralareas. HavingbeguninupstateNew York asaMethodistsummercampfor bringing ablendofentertainmentandmoraleducationtomiddle-class Americans Circuit ChautauquatofestivalShakespeare, whichservedmuchthesamefunction, has notbeendiscussedistherichlysymbolicpassingofaculturalmantlefrom its circularperimeterwallwithinwhichtocreateanElizabethan-styletheatre. What longer sustainthem;and Ashland’s domehadbeendismantledin1933, leavingonly into rapiddeclineduringtheDepression, fortownsinrural American couldno movement hasachievedthestatusofmyth. Touring Chautauquashowshadgone had beenahugedomedstructurebuiltfortheCircuitChautauquaeducational company actors. and, throughthetheatreprogramme, trainingthemtobeapprenticesandeventually is nowSouthernOregonUniversitytothisday, employingstudentsinminorroles from asenseofeducationalmission;andithasretaineditsaffi production hehaddirectedduringtheacademicyear. Thus theOSFspranginpart students andtownspeopleinkeyroles, Itwaswithjustsuchconvictionthat Angus BowmerlaunchedtheOregonShake- TheroadtoacceptanceofShakespeareanperformance waspavedbyBenGreet, Bowmer’s inspiration tobuildanoutdooramphitheatrewithintheshellofwhat Twelfth Night — James C. Bulman— San Francisco Chronicle , 11/30/79). and oneof rst suchfestivalinNorth America. Bowmer . Eschewingtheelaboratescenery, costumes, Twelfth Night 70 rst productions, largelyamateuraffairs– The Merchant of Venice – being arevivalofstudent liation withwhat featured Downloaded By: 10.3.98.104 At: 23:23 25 Sep 2021; For: 9781315778341, chapterThree, 10.4324/9781315778341.ch3 many ofthemmovefromone festivaltoanother, buildingShakespeareancredentials these stages;actorsareoverwhelmingly American innationalityandtraining; and grammes attheuniversities thathousethefestivals;bignamesseldomappear on actors toformasinglecompany: someareamateurs, drawnfromtheatrepro- comedy acts–hasitsrootsin American populism. ment thatoftenprecedesperformances–Elizabethan dancing, music, juggling, and to thefestivalsandbusinesscomingintotownsthat promotethem. The entertain- ence: directorsstaywithinthelimitsoforthodoxyinorder tokeepaudiencesfl unadventurous, andbroadlyaccessible. Littleisinventiveordiscomfi through edutainment. Thus theirproductionstendtobetheatricallyconservative, and prosperousenoughtoaffordatheatrevacation– intent onbetteringthemselves will educatethem. These festivalssharemanycharacteristics. that Shakespearecontinuestosatisfythehungerofaudiences forentertainmentthat 2005 onfestivalsasvacationdestinations). The popularityofsuchfestivalsreveals regions oftheUnitedStates, manyofthemwithuniversityaffi liations(seeBennett success oftheOSFledtofoundingsimilar “destination” festivalsindifferent US. Italsohasspawnednumerousoffspring. Inthedecadesfollowingwar, the 400,000 ticketssoldannually, theOSFisnowlargesttheatre companyinthe of over$30million, aneconomicimpactof$250milliononthe Ashland area, and and moralenlightenment. entertainments acenturyago, thatShakespearewillsatisfytheirquestforcultural so withtheexpectation, similartothatofaudienceswhofl ockedtoChautauqua make thetrekto Ashland –stilloverwhelminglyaffl uent, educated, andwhite–do festivals whichhavesimilarlybroadenedtheirtheatrebase;andtheaudienceswho But Shakespeareremainsthecornerstoneofrepertory, asitdoesatthoseother typically includesonlyfourShakespeareplaysinaseasonofdozenproductions. more modernplaysandmusicalswereaddedtoitsrepertory, sothatnowtheFestival theatre in2002);andinevitably, astheOSFwaspromotedatouristdestination, carved outofanexistingstore-frontin1977(tobereplacedbyanewfl indoor theatrenamedafterBowmerwascompletedin1972;asmallerspace rebuilt andenlargedin1959, modelledonLondon’s 1599Fortune Theatre; anew the 1950s, Bowmerbegantoemployprofessionalactors;theElizabethantheatrewas World War II, thelengthof seasongrewandthenumberofplaysexpanded. In Chamber ofCommerce, followingasix-yearhiatusduringwhichBowmerfoughtin (1998: 182). When theFestivalresumedwithapledgeofsupportfrom Ashland middle-class audiences, offeringthemwhatDennisKennedyhascalled “edutainment” in LearyandRichard2009:8–9)earlyyearsservedmuchthesameregional festival” thatwould “revive thetraditionofChautauqua’s summerfestival” (quoted walls oftheoldChautauquadome “stimulated thegerminalideaofaShakespearean autobiography, outdoor ElizabethantheatrethustookupwhereChautauqualeftoff:indeed, inhis Circuit Chautauquasuntiltheyclosed. (Canning 2005:198). OwingtoGreet’s success, theatrebecameamainstayofthe Moreover, Shakespearefestivalstypically use amixofEquityandnon-Equity LiketheOSF, theyappealtoaneducated audience–largelywhite, middleclass, Culturaltourismhasbecomebigbusiness, astheOSFcanattest. With abudget Bowmer’s projecttoofferasummerfestivalofShakespeare’s playsinasimplifi As IRemember, Adam — Shakespeare on American stages— (1975), heexplicitlyacknowledgedthatthe 71 tingtoanaudi- exible-space ocking ed Downloaded By: 10.3.98.104 At: 23:23 25 Sep 2021; For: 9781315778341, chapterThree, 10.4324/9781315778341.ch3 It currentlyrunsfourorfi brain-child ofProfessorGeorgeF. Reynolds, theFestivalwasnotfoundeduntil1958. the theatrewascompletedin1939specifi callyforShakespeareproductions, the the MaryRipponoutdoortheatreatUniversityofColoradoinBoulder. Although shared characteristics. The ColoradoShakespeareFestival(CSF)performsplaysin future audiencesinordertoguaranteetheirowneconomicviability. to promotingculturalliteracyinschoolchildrenand(althoughunspoken)groom demonstrate theirseriousnessofpurposetoensurethepubliccommitment outreach hasbecomeamainstayofShakespearefestivals, afeaturetheypublicizeto ern California:currentlynearlyahalfofOSFaudiencesarestudentgroups. Such OSF pioneeredsuchactivities, witheducationaloutreachextendingasfarsouth- perform scenesandofferworkshops, orbyhostingseminarsforteachers. Again, the bringing studentstocampusforspecialmatinees, bysendingactorsintoschoolsto outreach programmestoregionalsecondaryschoolsandeducators, whetherby days ofplay-going, lectures, discussions, andmeetingswithactors. speare clubsthatsprangupacenturyago, areencouragedtoattendfestivalsforafew workshops; andtheatregroups, ratherliketheenthusiasticmembersofthoseShake- with thehostuniversity. Productionsfrequentlyarelinkedtoacademicseminarsand well. Understandably, festivalswithsuchaffi liationsshareaneducationalmission and getsomeoftheirfi nancialandmanagerialsupportfromthehostinstitutionas purpose-built forShakespeareanperformance, oftenElizabethan-styleamphitheatres– tourist destinations. Four Plays” andprovidedamodelforalloftheOSF’s progenytosellthemselvesas adopted bytheOSFinlate1940sencouragedvisitorsto “Stay FourDays, See who usefestivalattendanceasthepurposeoftheirsummervacation. The motto festival canofferavarietyofplaysovershortperiod, andthusappealtotourists as theygo. Furthermore, playsruninrepertory. This systemhelpstoensurethata in asmallerindoortheatre. A newstudiotheatreisunderconstruction. Ticket sales modern fare–areperformed, asat Ashland, inanoutdoorreplicaoftheGlobe and play seasonrunsfromJune toOctober, and plays–amixtureofShakespeare org/about/history.html). Ithasgrownconsiderably in fi platform backedbyapartial replicaofanElizabethanstagehouse” (http://www.bard. anoutdoor formed by “a smallcompanyofcollegestudentsandtownspeople . . . on modelled onthesuccessfulformulaofOSF. Itsfi rstseasonoffered threeplaysper- served asamentorthroughtheearlystagesofplanning. Inmanyways, thisfestivalis was foundedthreeyearslater, in1961, byFredC. Adams, forwhom Angus Bowmer www.coloradoshakes.org/about). connect themwiththecontinuingtraditionandimportance ofShakespeare” (http:// school childreneachyearthroughcamps, classes, andoutreachperformancesthat website boaststhat “the festival’s educationprogramsreachtensofthousands actors andstudentinternsdrawnfromcollegesacross the country. Crucially, theCSF atre. Itsfi nancesarelinkedtothoseoftheuniversity, anditemploysboth professional exclusively Shakespearean, atboththeoutdoortheatreandindooruniversitythe- Abriefsurveyofthreethemostnotablefestivalswillservetodemonstratethese Finally, inlinewiththeireducationalmission, festivalshaveincreasinglypromoted Inaddition, thesefestivalsareoftenlocatedonuniversitycampuses–intheatres TheUtahShakespeareFestival(USF), onthecampusofSouthernUtah University, veplaysinrepertoryduringthesummer, primarilybutnot — James C. Bulman— 72 fty years. Currently, aneight- Downloaded By: 10.3.98.104 At: 23:23 25 Sep 2021; For: 9781315778341, chapterThree, 10.4324/9781315778341.ch3 Ben Greethimselfcouldnothave putitbetter. Shakespeareisgoodforyou. literacy infrontier Americans acenturyago: like thatofaChautauqualecturerintentoninculcating civilizedvaluesandcultural central toitsproject, itisnotsurprisingthatthecompany’s missionstatementsounds had benefi tedfromthetheatre’s educationprogrammes. With theseprogrammesso to targetjuniorandseniorhighschoolstudents:by2012, fullyhalfamillionstudents in 1997, hasbecomethemid-Atlanticregion’s largestShakespearetouringcompany little competitionforaudiencesinanareaofhugepopulationdensity. its doorsin1982(Cooper1986). The Shakespeare Theatre ofNewJerseythushas festivals –wasbesetwithfi nancialandartisticproblemsfromtheoutset, andclosed necticut, in1955astheUSanswertoStratford-upon-Avon andStratford, Ontario, speare company;andthe American Shakespeare Theatre –foundedinStratford, Con- Shakespeare intheParkduringsummer, New York CityhasnomajorShake- company’s successmayalsohavebeenenhancedbythefactthat, apartfromthefree rich poolofprofessionaltalent, sothequalityofproductionsisunusuallyhigh. The its repertory. With New York Cityjustanhouraway, thecompanycandrawona the threeorfourShakespeareplaysperformedeachyearremaincornerstoneof repertory hasexpandedtoincludenon-Shakespeareanplays, although, asattheOSF, ally andabudgetofover$4million. LikeothersuccessfulShakespearefestivals, its awards andgrownintoabigcommercialenterprise, with300staffandartistsannu- was renamedtheShakespeare Theatre ofNewJerseyin2003, ithadwonnumerous campus wasaddedin2002forsummerperformances. Bythetimecompany productions torunfromMayDecember;anoutdoorstagelocatedonanearby In 1998astate-of-the-arttheatrewasbuiltforthefestivaloncampus, allowingits where agymnasiumhadbeenconvertedintoperformancespacefewyearsearlier. eran actoranddirectorPaulBarry, thisfestivalmovedin1972toDrewUniversity, Founded asasmallsummer-stock company inCapeMay1963, andledbyvet- for schoolchildren. As theUSFisnearseveralnationalparks, italsotradesontourism. company offerssummercampsinactingandtechnicaltheatre, andhostsvariousevents which entertain, enrich, andeducate” (http://www.bard.org/about/mission.html), the affi mated toexceed$35millionannually. With amissionstatementthatpromises “life- $7 milliontoday;andin2012, theeconomicimpactofUSFonareawasesti- now number130,000eachseason;thebudgethasincreasedfrom$1,000in1961to rming classicandcontemporaryplays . . . enhanced byinteractivefestivalexperiences Moreover, TheNewJerseyShakespeareFestivalhashadsignalsuccessontheEastCoast. and soulofanygreatcivilization. keen awarenessofhowthe arts areanecessitytothehealthofcollectivemind promoting literacy, aculture ofenlightenment, adedicationtoexcellence, anda of theclassics. We integrateeducationandlearningintoallourendeavors, while dedicated toprovidingtransformativeexperiencesthrough ourliveperformance lives aswellfuturevisionsfortheworld. We areateachingtheatre, fervently matic masterpiecesofthepasttodynamicnewlifein ordertoinspirepresent Theartistsandtrusteesof The Shakespeare Theatre ofNewJerseybringdra- Shakespeare LIVE! — Shakespeare on American stages— (http://www.shakespearenj.org/AboutUs/mission.html) , thecompany’s fl agshipeducationprojectlaunched 73 Downloaded By: 10.3.98.104 At: 23:23 25 Sep 2021; For: 9781315778341, chapterThree, 10.4324/9781315778341.ch3 perform attheFolgerShakespeare Library’s Elizabethantheatre, theShakespeare student audiences. As theygainedskillandconfi often rawandunskilled;but theiryouthandexuberancemadethempopularamong manding forthesameservices. These actors, manyofthemfresh outofcollege, were with anaudience. Furthermore, theychargedonlyafractionofwhat AFTLS wascom- lecture rooms–wherevertheyfoundaspacelargeenough tosurroundthemselves performing playsinbigauditoriums, smalltheatres, dininghalls, chapels, lobbies, and versities throughouttheeasternUS, offeringworkshopsinactingandmovement in Virginia’s Shenandoah Valley. They beganbydoingresidenciesatcolleges anduni- the ShenandoahShakespeareExpressaftertheirhome atJamesMadisonUniversity and hisformerstudentJim Warren andmodelledonthepopular AFTLS, wascalled telling thestoryclearly, simply, andswiftly. This company, foundedin1988byCohen “original practices”:playinginanemptyspace, inuniversallighting, withafocuson pany ofyoungactorswhowouldperformplaysusing whathavecometobecalled by frequenttripstoStratford-upon-Avon withhisstudentstolaunchatouringcom- to seehowShakespeare “should” bedone, ProfessorRalph Alan Cohenwasinspired a touringcompanyoffi training and American populism. Inmuchthesameway thatHomerSwanderformed education. have evolvedintoapopularstapleofculturaltourismandsignifi cantforceinpublic dominate American Shakespeareproductionastheyoncedid;and American festivals ter onthedevelopmentofShakespeareanstagecraftinNorth America, theydonot Greet, BenPayne, Tyrone Guthrie, Audrey Stanley, Tina Packer, andKristinLinkla- the superiorproductionstheyexportandforinfl uenceofpioneerssuchasBen actors, directors, andtechnicians. Although theBritish mayhavewonthelaurelsfor from whatmany Anglophile Americans viewasthegreaterdepthandskillofBritish they havedevelopedahome-grownaestheticandsenseofmissionthatsetthemapart artistically –withthoseBritishShakespearecompaniesthatvisit American shores, belief thatShakespeareisanindispensablepartof American culture. fresco, enjoyingtheeffortsofactors, bothamateurandprofessional, whosharetheir colleges anduniversities. All ofthemofferaudiencesachancetospendaneveningal- village greensandforestglens–mostofthemfree, manyofthemundertheaegis vals nowpopulateNorth America, inlargecitiesandsmalltowns, inurbanparksand since 2002hasbeencalledShakespeareinthePark. Hundredsofsuchsummerfesti- Shakespeare Festivalin1954, whichshortlythereaftermovedtoCentralParkand as doesthemovementbegunbyJosephPappwhenhelaunchedhisfreeNew York in Washington, DC, andtheOldGlobeinSanDiegodeserveanessayuntothemselves, nies suchastheChicagoShakespeare Theater, theShakespeare Theatre Company speare isperformedin America today. Majorcommercialandnon-profi is notenoughspaceinonechaptertocoverthepluralityofstagesonwhichShake- other Shakespeareanstagesthathavelikewisebeenshapedbysuchinfl educational imperativesontheevolutionof American festivalculture, Ihaveignored Infocusingontheintersectinginfl Yet onevisionaryacademichassoughttobuildbridgesbetweenBritish theatre While American Shakespearefestivalsdonotcompete–eitherforaudiencesor ve RSC actorsaftertaking hisstudentstoStratford-upon-Avon — James C. Bulman— CULTURAL FUSION uencesofBritishtheatricalpracticeandProtestant 74 dence, the companywasinvitedto uences. There t compa- t Downloaded By: 10.3.98.104 At: 23:23 25 Sep 2021; For: 9781315778341, chapterThree, 10.4324/9781315778341.ch3 Bennett, Susan(2005) “Shakespeare on Vacation,” in Albanese, Denise(2011) “Canons before Canons:CollegeEntranceRequirementsandthe many waysmoretechnicallyaccomplished, wouldnotwishtocompete. home in American Shakespeare, butwithwhichBritishShakespearecompanies, inso The companythusachievesaneasyblendofhighand lowculturewhichisrightat how Shakespearewasperformedin America throughmuchofthenineteenth century. dancing, mime, clowning, games–andcontinuingthemduringintermissions, recalling populism andfestiveoccasionbybeginningwithlight entertainment–Elizabethan best Britishcompanies. At thesametime, performancespreservethespiritof American training, butseldomachievedby American actors–havebeguntorivalthoseofthe tion, theirspeedandclarityofdelivery–goalsparamountimportanceinBritishactor direction, theactors’comfortinspeakingShakespeareanEnglish, theircrisparticula- and performswithmoreexuberancethansubtlety. But, underCohen’s and Warren’s (including recentgraduatesfromtheMaryBaldwinprogramme), castsnobignames, those ofBritishstate-subsidizedcompanies, drawsitsactorsfroman American pool to theRSC orShakespeare’s Globe. Itworkswithabudgetminisculecompared tion isproducingnoteworthyresults. British “original practices” aestheticandtrainingwithan American spiritofexplora- their partsonabarestagewithonlytwoweekstomountproduction. This fusionofa with nodirectors, nodesigners, andfewgrouprehearsals:justactorsfi licate Elizabethanrehearsalpracticesbyhavingactorsprepareplaysforperformance débuted its Actors’ RenaissanceSeason–nowanannualeventwhichattemptstorep- throughout theyear. With anaudaciousspiritofinvention, in2005thecompany into aresource–theonlyoneinNorth America –forperformingRenaissancedrama Blackfriars whiletheyoungercompanytoured. This residentcompanyhasmatured formance; andthereisvirtuallynoscenery. members arerecruitedtositonthestage, wheretheyareincorporatedintotheper- lighting toensureanimmediateconnectionbetweenactorsandspectators;audience stage withaudiencesurroundingitonthreesides. Playsareperformedinuniversal mate productionsofplaysbyShakespeareandhiscontemporaries, has adeepthrust Staunton’s BlackfriarsPlayhouse, amagnifi centvenuewhichopenedin2001forinti- the Blackfriars, theindoortheatreusedbyShakespeare’s companystartingin1608. where, withgreatentrepreneurialskill, Cohenraisedthemoneytobuildareplicaof ter’s degreeprogrammeintheteaching, acting, anddirectingofShakespeare, and Virginia, wheretheypartneredwithMaryBaldwinCollegetocreateauniquemas- Canada, andtheUS(http://www.americanshakespearecenter.com). Globe MuseuminLondon, theEdinburghFringeFestival, andelsewhereinEurope, formance (eds.), Newark:University ofDelawarePress, 157–74. Citizenship, andPerformance Making ofaNational-Educational Shakespeare,” in Andyetthe American ShakespeareCenter, asitwasrenamedin2005, isnotarival In2002Cohenand Warren castacompanyofresidentactorstoperformatthe In1999, Cohenand Warren movedthecompanyashortdistancetoStaunton, , BarbaraHodgdonand William B. Worthen (eds.), Oxford:Blackwell, — Shakespeare on American stages— , CoppéliaKahn, HeatherS. Nathans, andMimiGodfrey REFERENCES 75 A CompaniontoShakespeare andPer- Shakespearean Educations:Power, guring out guring 494–508. Downloaded By: 10.3.98.104 At: 23:23 25 Sep 2021; For: 9781315778341, chapterThree, 10.4324/9781315778341.ch3 Burton, Jonathan(2011) “Lay on, McGuffey:ExcerptingShakespeareinNineteenth- Bowmer, Angus (1975) Garber, Marjorie(2009) Engle, Ron, Felicia HardisonLondré, andDanielJ. Watermeier (1995) Bristol, MichaelD. (1990) Cartelli, Thomas (1999) Cliff, Nigel(2007) Canning, CharlotteM. (2005) Worthen, William B. (2012) “‘The Written Troubles oftheBrain’: Cooper, RobertaKrensky(1986) Leary, KathleenF., and Amy E. Richard(2009) Kennedy, Dennis(1998) “Shakespeare andCultural Tourism,” Kegl, Rosemary(2011) “Outdistancing thePast:Shakespeareand American Educationatthe Kahn, Coppélia, HeatherS. Nathans, andMimiGodfrey(eds.)(2011) Hudson, HenryNorman(1848) Curtis, George William (1863) “Editor’s EasyChair,” Payne, BenIden(1977) Levine, Lawrence W. (1988) Shattuck, Charles H. (1976) Scheil, Katherine(2012) Simon, Henry William (1932) Speaight, Robert(1954) Vaughan, AldenT.,and VirginiaMason Vaughan (2012) Century Schoolbooks,” in Oregon ShakespeareFestival Association. and Festivals: An InternationalGuide , Westport, CT: GreenwoodPress. Appropriations , London: Routledge. Performance , Delaware Press, 95–111. Coppélia Kahn, HeatherS. Nathans, andMimiGodfrey(eds.), Newark:Universityof Space ofCharacter,” Oxford UniversityPress. America , New York: RandomHouse. of DelawarePress, 247–75. mance 1934 Chicago World’s Fair,” in tions: Power, Citizenship, andPerformance , Newark:UniversityofDelaware Press. Scribner. 28 December:131–33. Washington, DC:FolgerBooks. America , Festival , Charleston, SC: Arcadia Publishing. Ithaca, NY: CornellUniversityPress. University Press, 157–73. Booth , Washington, DC:Folger ShakespeareLibrary. An HistoricalSurvey , New York: SimonandSchuster. University Press. , CoppéliaKahn, HeatherS. Nathans, andMimiGodfrey(eds.), Newark:University Cambridge, MA:HarvardUniversity Press. Iowa City:UniversityofPress. The Shakespeare Riots: Revenge, Drama, andDeathinNineteenth-Century A Lifeina Wooden O:Memoirs ofthe Theatre , Theatre Journal 64.1: 79–97. William Poel andtheElizabethanRevival As IRemember, Adam: An Autobiography ofaFestival She HathBeenReading: Women andShakespeare Clubsin America Shakespeare andModernCulture Shakespeare’s America, America’sShakespeare Repositioning Shakespeare: NationalFormations, Postcolonial Shakespeare onthe American Stage:FromtheHallamstoEdwin Shakespearean Educations: Power, Citizenship, andPerformance , Highbrow/Lowbrow: The EmergenceofCultural Hierarchy in The ReadingofShakespeare in American Schools andColleges: FURTHER READING — James C. Bulman— The Most American Thing in America: CircuitChautauquaas The American Shakespeare Theatre: Stratford,Shakespeare Theatre: 1955–1985 The American Lectures onShakespeare Shakespearean Educations:Power, Citizenship, andPerfor- 76 Images of America: Oregon Shakespeare Harper’s NewMonthly Magazine , ,New York: Books. Anchor Shak , 2vols., Theatre Journal espeare in America , ,
Cambridge, MA:Harvard Sleep NoMore
Shakespeare Companies New York: Bakerand Shakespearean Educa-
NewHaven, CT: Yale , London:Routledge. 50.2: 175–88. , Ashland:
Oxford: and the , ,
Downloaded By: 10.3.98.104 At: 23:23 25 Sep 2021; For: 9781315778341, chapterThree, 10.4324/9781315778341.ch3 Sturgess, KimC. (2004) Shapiro, James(ed.)(2013) Vaughan, Alden T., and Virginia Mason Vaughan (eds.)(2007) Teague, Frances(2006) Wilmeth, DonB., and Tice L. Miller(1993) Now , New York: Libraryof America. University Press. University Press. University Press. Washington, DC:FolgerShakespeareLibrary. — Shakespeare on American stages— Shakespeare and the Popular American Stage Shakespeare and the American Nation Shakespeare in America: An Anthology fromtheRevolution to 77 American Theatre Shakespeare in American Life , Cambridge:Cambridge , Cambridge:Cambridge , Cambridge:Cambridge ,