In Shakespeare’s time, people did not go to “see” a play; they went to “hear” a play. Which Shakespeare play would you like to hear?

A few months ago, I wrote a post about my Shakespeare addiction that referenced the Caedmon audio production of As You Like It. Regular readers of the blog know well the extent of this addiction, but what they may not know is the degree to which that addiction includes audio productions of Shakespeare. Most people organize their mp3 playlists with different genres of music plus one “Spoken Word” category. My iPhone has a “Music” playlist, with various Spoken Word sub-genres, including several playlists of performances of Shakespeare. Given the hours upon hours I have spent listening to these productions, I am now pleased to share with you my ten very favorite selections.

Now, if this is your thing, you really need to get The Complete Arkangel Shakespeare. This is a breathtaking collection of top-quality productions of each of Shakespeare’s plays, directed by Clive Brill and with original music by Dominique Le Gendre. The advantage of buying the set is that you will then have the option to listen to any title you choose. But if you’re not ready to make that kind of investment into the eclectic world of Shakespeare audio, I can give you my own top picks so you can get your feet wet before diving into the deep end of the pool.

Standard disclaimers apply. These are based on my own preferences, which are always subject to change. I based my rankings on writing, acting, directing, production, and music. I limited myself to modern productions only, so you won’t find Paul Robeson or Orson Welles on the list. And I’m sure there are many excellent productions I haven’t listened to. Basically, these are the ten audio productions of Shakespeare I find myself returning to again and again.

And, in keeping with tradition, my top ten list will have twenty entries. Enjoy!

1. King Lear (BBC)

Directed by Glyn Dearman; Starring Sir John Gielgud (Lear), Kenneth Branagh (Edmund), Emma Thompson (Cordelia), Derek Jacobi (France), Bob Hoskins (Oswald), Judi Dench (Goneril), Michael Williams (Fool), and Richard Briers (Gloucester).

This, to me, is the definitive audio Lear. Gielgud takes a larger-than-life character and truly brings out his humanity. An all-star cast delivers solid performances across the ensemble. This is Shakespeare the way it was meant to be performed.

2. As You Like It (Caedmon)

Vanessa Redgrave as Rosalind gives one of the greatest audio performances I’ve ever heard. If you’re a fan of the play, or even if you’re not, you owe it to yourself to hear this amazing production.

3. Richard III (Cambridge)

Starring Kenneth Branagh (Richard III), Celia Imrie (Queen Elizabeth), Bruce Alexander (Edward IV), Michael Maloney (Clarence), John Shrapnel (Hastings), Stella Gonet (Anne), Jamie Glover (Richmond), and Nicholas Farrell (Buckingham).

I wouldn’t really have thought of Branagh for the hunchbacked villain, but he does a great job leading a top-notch cast in performing Shakespeare’s classic history play. I never really knew how much was going on in this play until I heard this production.

4. Julius Caesar (Arkangel)

Starring Michael Feast (Julius Caesar), John Bowe (Brutus), Adrian Lester (Mark Antony), Geoffrey Whitehead (Cassius), Estelle Kohler (Portia), and Jonathan Tayler (Octavius).

I can listen to this one again and again. The exchanges between Bowe’s Brutus and Whitehead’s Cassius are electric, and Marc Antony’s powerful monologues are explosive in Lester’s more-than-capable hands.

5. The Comedy of Errors (Arkangel)

Starring David Tennant (Antipholus of Syracuse), Brendan Coyle (Antipholus of Ephesus), Alan Cox (Dromio of Syracuse), Jason O’Mara (Dromio of Ephesus), Niamh Cusack (Adriana), Sorcha Cusack (Luciana), and Trevor Peacock (Egeon).

Along his path to directing the canon, Clive Brill has a lot of fun with Shakespeare’s only slapstick comedy. Silly sound effects and comical music underscore fantastic comic performances by a brilliant cast. Remember, dying is easy; Comedy’s hard.

6. King John (Arkangel)

Starring Michael Feast (King John), Eileen Atkins (Constance), Michael Maloney (Bastard), Geoffrey Whitehead (Phillip), Trevor Peacock (Hubert), Bill Nighy (Pandulph), and Margaret Robertson (Elinor).

Michael Maloney steals this particular show, as the Bastard often does in King John. But strong performances across the cast have the power to churn the blood and tug a few heartstrings as well.

7. Macbeth (Caedmon)

There are a number of audio Macbeths to choose from, but I give Anthony Quayle pride of place. Mood-enhancing sound effects and strong performances across the board make this production the Macbeth of choice.

8. Othello (Cambridge)

Starring Hugh Quarshie (Othello), Anton Lesser (Iago), Emma Fielding (Desdemona).

Lesser’s edgy voice creates a dangerous Iago, who provokes a genuine sense of menace. Quarshie’s passionate Othello makes for a worthy tragic figure. Together, the two performances leave us with an unforgettable audio experience.

9. Henry V (Cambridge)

Directed by David Timson; Starring Samuel West as Henry V.

This is a stirring and creative production of Henry V. Vibrant interpretations of even the minor characters make for a consistently interesting and entertaining presentation of the well-beloved history.

10. As You Like It (Arkangel)

Starring Niamh Cusak (Rosalind), Stephen Mangan (Orlando), Gerard Murphy (Jaques), Clarence Smith (Touchstone), and Victoria Hamilton (Celia).

This is a really great audio production of the play. I rated the other version much higher, but I actually prefer Dominique Le Gendre’s music in this one. And for As You Like It, the music is no insignificant character.

11. Measure for Measure (Arkangel)

Starring Roger Allan (Duke), Simon Russell Beale (Angelo), Stella Gonet (Isabella), Jonathan Firth (Claudio), and Stephen Mangan (Lucio).

Here’s another one I keep revisiting. Beale and Gonet create sparks as Angelo and Isabella, Mangan is brilliant as Lucio, and Allan’s Duke never lets you forget who’s in charge. I think I want to go listen to this one right now.

12. King Lear (Naxos)

Starring Paul Scofield (Lear), Alec McCowen (Gloucester), Kenneth Branagh (Fool), David Burke (Kent), Harriet Walter (Goneril), Emilia Fox (Cordelia), Sara Kestelman (Regan), Richard McCabe (Edgar), and Toby Stephens (Edmund).

Okay, so Paul Scofield as Lear should be enough, right? But he is supported by a great ensemble cast in a well-directed version of one of the greatest plays ever written. Check it out!

13. The Tempest (Naxos)

Starring Ian McKellen (Prospero), Scott Handy (Ariel), Emilia Fox (Miranda), Neville Jason (Antonio), Benedict Cumberbatch (Ferdinand), and Ben Onwukwe (Caliban).

Okay, so Ian McKellen as Prospero should be enough, right? But this is another high-quality Naxos masterpiece – a must-have for Shakespeare audio collectors.

14. Henry IV, Part One (Arkangel)

Starring Jamie Glover (Hal), Julian Glover (Henry IV), Alan Cox (Hotspur), and Richard Griffiths (Falstaff).

I really love this play, and the Arkangel production does it great justice. Griffiths creates a Falstaff with his voice that has the power to rival his stage counterparts. Each scene in this production is like a little gift-wrapped present.

15. Hamlet (Cambridge)

Anton Lesser is the man! This time, he lends his distinctive voice to the Melancholy Dane, striking just the right balance between contemplative and bitter, between witty and mad. There are certainly other audio Hamlets, but Lesser is greater!

16. A Midsummer Night’s Dream (Naxos)

Starring Warren Mitchell (Bottom), Michael Maloney (Oberon), Sarah Woodward (Titania), Jack Ellis (Theseus), Benjamin Soames (Lysander), Jamie Glover (Demetrius), Cathy Sara (Hermia), Emily Raymond (Helena), and Ian Hughes (Puck).

Again, I have several versions of the Dream to choose from, but I think I’ll take Naxos for the win. I’ve heard these words so many times, it’s an impressive production that can still make me laugh at them.

17. Richard II (Arkangel)

Starring Rupert Graves (Richard II), Julian Glover (Bolingbroke), and John Wood (John of Gaunt).

Let’s talk of Graves. (See what I did there?) He gives an outstanding performance as Richard, which is important, because – let’s face it – he does tend to go on a little.

18. Henry VI, Part Three (Arkangel)

Starring David Tennant (Henry VI), Kelly Hunter (Margaret), Clive Merrison (York), Stephen Boxer (Edward), John Bowe (Warwick), and David Troughton (Richard).

This is the beauty of the Arkangel series. You can listen to any play, any act, any scene you like. And sometimes, you just really need to hear the “paper crown” scene. When that day comes for you, this is the recording you’ll want to have.

19. Romeo and Juliet (Arkangel)

Starring Joseph Fiennes (Romeo), Maria Miles (Juliet), and Elizabeth Spriggs (Nurse).

Dominique Le Gendre’s love theme for this production becomes the theme song for the entire Arkangel series. Fiennes and Miles are wonderful, as you knew they would be. When you want to hear this play, hear this version.

20. Twelfth Night (Cambridge)

Starring Stella Gonet (Viola), Jonathan Keeble (Orsino), Jane Whittenshaw (Maria), Malcolm Sinclair (Andrew), David Timson (Feste), Lucy Whybrow (Olivia), Christopher Godwin (Malvolio), and Gerard Murphy (Toby).

Well, what can I say, this is my twentieth favorite. But it’s the best of all of the Twelfth Night productions I own, and it’s a great presentation of a fun play, so why not give it a listen?

Okay, so I missed the riddle this week. I do apologize, but I’ve been constantly besieged by natural disasters of biblical proportions. Sort of.

I was actually in Virginia for the earthquake. I’ve spent the last week vacationing with my family, visiting Jamestown and Williamsburg and the like. On Tuesday, we were at Busch Gardens, and when the group split into different factions, I took the opportunity to set off on my own for a while. I went to go see the Pirates “4-D” movie. A “4-D” movie is like a 3-D movie, except they shake your seat and squirt water at you at appropriate moments in the film. It has nothing to do with the fourth dimension, but it’s fun all the same. At one point, the whole theatre shook from side to side, which I thought was pretty cool, but I later learned that I was actually at the epicenter of a 5.8-magnitude earthquake. It even kind of fit with what was going on in the movie, so I just enjoyed it as part of the show.

After I left the theatre, I ran into my nephew Ian (age 7), accompanied by Dave, a family friend. Dave told me that there had been some kind of earthquake, and that all of the rides were shut down. I assumed that this was a story Dave told Ian to get a break from the roller coasters, so I gave him a knowing smile and went along with the charade. It’s worth noting that, at this point, I had both felt the earthquake and had been told there was an earthquake, and still I did not know there had been an earthquake.

Pretty soon, however, it became hard for even me to stay in the dark, as reports of the unusual phenomenon spread rapidly. It stayed big news for a day or two, but was just as quickly overshadowed by news of an impending hurricane. Hurricane Irene was expected to sweep up the Eastern seaboard and hit New York City by Saturday night. I decided to cut my trip short a day and head back home a bit early. My train was delayed a bit because of flooding below Washington, D.C., but my trip was largely uneventful and I made it back to New York City in time to do some grocery shopping and put my earthly affairs in order.

As I settled in for a grocery-enhanced night of a Kill Point marathon sporadically interrupted by checking online weather maps, I learned of an impending Tornado Watch for New York City. Really?

Anyway, there was no tornado, and not even really a hurricane. Irene was downgraded to a tropical storm before it hit here, and even by that standard, it was pretty mild. I had no interruptions of power or Internet, and could only occasionally hear the rustling of wind outside my window. I did make it through the entire series of The Kill Point, which was about a hostage standoff in a bank, so that was pretty exciting, but that was about it. I can’t say I’m disappointed, but I’m not feeling all that relieved either.

Mostly, I’m disappointed that I missed a riddle, which usually means I’ve been neglecting the blog for too long. I think I’m about ready to return. This week, I survived earthquakes, hurricanes, floods, and tornadoes, so I’m feeling pretty unstoppable. That’s right, Mother Nature, if you want a piece of this, next time you best bring a FREAKIN’ VOLCANO.

Feel free to post relevant quotes from King Lear in the comments. The Shakespeare Teacher is back.

I subscribe to a service called “SiteMeter” which allows me to see a limited amount of information about my visitors. One thing that I can see is if someone finds my site via a Google search, and what they were searching for.

Every now and then I check in on what searches people have done to find themselves at Shakespeare Teacher, and to respond to those search terms in the name of fun and public service. All of the following searches brought readers to this site in the past week.

Enjoy!

Well, there is a bit of sexual content in it. Iachimo bets Posthumous that he can seduce Imogen, Posthumous’s wife. To prove he’s won his bet, he describes Imogen’s body in intimate detail.

But why do we flinch at mild sexual content like this for kids, and shrug off graphic violence? Does anyone ask if Macbeth is appropriate for kids?

I just did it myself. When asked if Cymbeline is appropriate for kids, I immediately addressed a verbal description of a female body, and completely ignored the decapitated corpse on stage.

I addressed the same concern when I taught the play to 8th graders. In the end, they did very well with it. You will have to let your own moral compass guide the way.

It depends on how deep you want to go. I have taught Macbeth in one lesson; I’ve taught it over an entire year. I’d recommend at least a month, but you’ll have to see what fits in your curriculum.

There’s plenty of inhumanity in the canon to go around.

My vote is for King Lear, though I suppose Titus Andronicus would be an appropriate choice as well.

Unlike other war-themed plays of Shakespeare, Much Ado about Nothing does not seem to center on any actual historical war. Directors, therefore, have the freedom to set the play in any post-war period that strikes the fancies of their set and costume designers. Of course, directors of Shakespeare hardly need such an invitation.

In the play, Don John has stood up against his brother Don Pedro, so the Civil War is a good choice. But really, the war itself is such a small part of the story that any war will suffice, even the indeterminate war of the text.

There are some organizations, like Flocabulary and The Hip-Hop Shakespeare Company, that use rap music to teach Shakespeare. But my favorite Shakespeare rap is still from the Reduced Shakespeare Company’s three man show The Compleat Wrks of Wllm Shkspr (abridged):

Full disclosure: Back in my acting days, I performed in this show. I played the role of Daniel (the first guy in the video, wearing red pants), and performed in this rap. The play is rather silly on the page, but turned out to be a great audience pleaser.

UPDATE: The embedded video doesn’t seem to be working right now. Here’s a direct link.

Hamlet, prince of Denmark, died yesterday from complications from a wound by a sword laced with a deadly unction. Some sources reported his age to be 30, while other sources insisted that he could not possibly have been that old. He is survived by nobody. King Fortinbras is requesting that any flowers sent on behalf of the deceased are of a botanical variety that have deep symbolic and/or ironic meaning.

I leave the task of responding to the remaining search terms to my readers:

It’s time once again to check in on what searches people have done to find themselves at Shakespeare Teacher, and to respond in the name of fun and public service. All of the following searches brought people to this site in the past week.

Probably not. Antony and Cleopatra did have three children, two boys and a girl. Cleopatra also had a child, Caesarion, from Julius Caesar. (”He plough’d her, and she cropp’d.” See how classy you sound when you quote Shakespeare?) Antony also had children from four of his wives.

After Octavius Caesar conquered Egypt (the events depicted in Shakespeare’s Antony & Cleopatra) he executed Caesarion, and gave the three children of Antony and Cleopatra to his sister Octavia. Remember (from the play) that Octavia was Antony’s last wife, so she’s now raising the children of her husband and his mistress. Little is known of the two boys, and if they had lived to adulthood, they would probably have been mentioned in sources of the time because of their parentage. It is possible they may have secretly been killed to avoid a later challenge to Octavius. But it’s also possible that they lived on and had children of their own. There’s no way to know.

The daughter of Antony and Cleopatra, named Cleopatra Selene, was married to an African king, and they had – at least – great grandchildren. Zenobia, a third century Syrian queen, claimed to be descended from this line. So it’s certainly possible that the descendants of Antony and Cleopatra are among us today. And if so, the opportunities to multiply between the 1st century and the 15th century would be massive. Therefore, we cannot rule out definitively that the Tudors are descended from Antony and Cleopatra. But could they know this for sure, let alone trace it? No. Those 1400 years weren’t exactly known for their record keeping, and there is too much motivation for people to invent a famous lineage along the way.

Margaret Tudor was Henry VIII’s older sister. She married James IV of Scotland in 1503, and a hundred years later, her great-grandson would become King of England (after Henry VIII’s line died out).

However, if you are asking about the character played by Gabrielle Anwar in The Tudors, you’re really looking for younger sister Mary Tudor. Another Mary would have probably been too confusing, so they conflated the two women into one character. Mary Tudor was the one who married an aging king only to be widowed three months later. Mary was the one who married Charles Brandon. I’ve only seen the first season of the show, so I don’t know what the character would later become, but in the first season, Margaret’s story is that of Mary Tudor.

Shakespeare had a lot of plots that centered around practical jokes. Often, they would blur the line between harmless prank and vicious revenge, but you can’t make an omelette without breaking a few eggs, am I right? Without any further ado, then, is my Top Ten list of Shakespearean pranks. Drum roll, please!

10. The Merry Wives of Windsor – I’m not a fan of this play, and I’m loathe to include it on the list of Top Ten anything. But a list of Shakespearean pranks would be incomplete without it, so here it is at #10. Suffice it to say, there are a number of pranks in this play. I’d list them, but I can’t be bothered.

9. Henry IV, Part Two – Hal and Poins disguise themselves as drawers and listen in on Falstaff’s bragging. They reveal themselves, but not before Falstaff has a chance to badmouth the Prince behind his back. The fun comes when Falstaff tries to talk his way out of it.

8. Measure for Measure – The “bed trick” and the “head trick” are serious deceptions and can hardly be considered a prank. But what about what I like to call the “fled trick”? The Duke pretends to leave Vienna, but instead stays back disguised as a friar. I guess the joke’s on Angelo. Busted!

7. Twelfth Night – Malvolio, imprisoned in darkness, recieves a visit from Sir Topas the curate. Actually, it’s Feste the jester disguising his voice. Playing both parts, Feste drives the supposed madman one step closer to real madness.

6. Much Ado about Nothing – Beatrice and Benedick’s merry war takes a surprising turn when their friends allow them to overhear conversations to make each believe the other is in love. The prank becomes self-fulfilling. “Some Cupid kills with arrows, some with traps.”

5. Henry IV, Part One – Hal and Poins pretend to go along with Falstaff’s plan to rob some travellers. But they enter in disguise after the fact and rob the robbers! They reveal their prank after Falstaff has been boasting about his encounter with the unknown thieves.

4. The Tempest – Prospero uses his magic to get revenge on those who have wronged him. But the havoc only lasts the afternoon and there’s no real damage done. The whole play is one big prank.

3. A Midsummer Night’s Dream – Puck changes Bottom into an ass. And Titania, having been spiked with a love potion by Oberon, falls in love with the creature. Hilarity ensues.

2. Twelfth Night – Maria forges a letter from Olivia to Malvolio, hinting that she is in love with him. Toby, Andrew, and Fabian spy on Malvolio as he reads the letter, which tells him to come to her in an outlandish manner… and he does.

1. Othello – Iago tricks Othello into believing that his wife has been unfaithful, so he kills her. Not really a prank, you say? Check out this video.

There are a lot of good monologues for men from King Lear. To start with, you can find monologues from Lear here, from Edmund here, and Edgar here. The female characters in the play have some great speeches, but nothing I would particularly pull out as a monologue.

You may be looking for Shakespeare: The Animated Tales, a series of half-hour condensed animated versions of Shakespeare plays. But I’ve also done a lot of work with students creating animated versions of Macbeth, As You Like It, and The Tempest. And since this is Shakespeare Teacher, I’ll offer some information about how to do it.

When I did these animation projects, the students did the artwork in HyperStudio, they recorded the sound in SoundEffects, and they aligned the two in iMovie. It was frame-by-frame, which is time consuming, but HyperStudio had a card-and-stack interface that made it go much more quickly. That was quite a few years ago, though, and I do mostly video projects now. I don’t know if HyperStudio is even still around, and people use Audacity for sound recordings today. iMovie is still the best game in town if you want to coordinate frame animation.

I know a lot of people who like to use the website Scratch for student animations. The one problem with Scratch is that you can only view the animations from the Scratch website. You cannot download the movie file and post it to YouTube.

I’ve heard, particularly from Shakespeare teachers, a lot of enthusiasm surrounding Kar2ouche. I looked at it once, a long time ago, and I dismissed it because there are a lot of pre-made templates, and I wanted my students to visually interpret the characters themselves. But time being a factor, I would probably recommend it, and I’ve seen some Shakespeare projects that look really sharp. Every so often, someone asks me if I’ve heard of Kar2ouche.

Of course, if your kids are into Second Life, there has been some animated Shakespeare coming from that quarter as well. There is also stop motion photography, which can be done with a digital camera, iMovie, and a lot of patience.

I can interpret this in four ways:

1. Was Queen Elizabeth the illegitimate child of Shakespeare?
2. Was Queen Elizabeth’s illegitimate child Shakespeare?
3. Did Queen Elizabeth’s illegitimate child actually write the plays of Shakespeare?
4. Was Queen Elizabeth an illegitimate child according to Shakespeare?

Elizabeth was older than Shakespeare, so #1 is a clear No. I don’t know of any illegitimate children of Elizabeth. This seems to me to be something easier for a king to pull off than a queen. If she had gone through a pregnancy, I doubt she’d have kept the nickname “the Virgin Queen” for very long. So we can answer a No for #2 and #3 as well.

As for whether Elizabeth herself was illegitimate, that’s a fair question. It all depends on how legitimate you consider the annulment of Henry VIII and his first wife. But Shakespeare certainly wouldn’t have painted her as illegitimate. When she was alive, he wrote plays that glorified her ancestors, and long after she died, his play Henry VIII treated her birth as a moment of great hope for the future of England.

So I’m not sure what you’re asking, but the answer is probably No.

I leave the task of responding to the remaining search terms to my readers:

I subscribe to a service called “SiteMeter” which allows me to see a limited amount of information about my visitors. One thing that I can see is if someone finds my site via a Google search, and what they were searching for.

It’s been a while, but every now and then I check in on what searches people have done to find themselves at Shakespeare Teacher, and to respond to those search terms in the name of fun and public service.

In celebration of the fact that I’m moving the Googleplex to Sundays, I’m going to double my usual 6-for-me/6-for-you format and give you 12 of each. Full disclosure: I actually started this post some time ago. All of the following 24 searches did bring people to this site in the same week; it just wasn’t this past week.

Enjoy!

I kept getting hits for this search, and couldn’t for the life of me figure out what people were looking for. Then, I realized that they were searching for this TED lecture on how schools kill creativity, given by Sir Ken Robinson in 2006. It’s almost 20 minutes long, but well worth watching. I should have posted this a long time ago.

I think they were looking for the actual psychological phenomenon, and not my analysis of a sitcom. But this post now ranks fourth in this particular Google search. The Internet is a funny place.

Shakespeare’s take on George III would have been well worth the staging. He probably would have also had a go at William III and the Glorious Revolution. We’d probably still be staging the famous Battle of the Boyne scene and debating whether or not Shakespeare was a secret Jacobite.

The two monarchs were Elizabeth I and James I. I’m not really sure what the rest of your question was going to be.

Shakespeare lived between two periods of severe religious strife. The mid-16th century was marked by radical shifts in English religious life described in greater detail here. After Shakespeare’s death, growing religious tension between Catholics and Protestants would lead to civil war and the execution of King Charles I. Compared to these two periods of violence, Shakespeare’s England was relatively stable religiously, though obviously there was still some unrest.

People have looked to Shakespeare’s plays for clues of where he fell on the question, but there’s no concrete evidence either way. Most of his plays are set either before the Protestant Reformation or in Northern Italy (which was solidly Catholic at the time) so Shakespeare – seemingly by design – didn’t have to deal with the religious issue much. One notable exception is Measure for Measure, which takes place in Vienna. If you would like to read Shakespeare’s scenes depicting a Protestant official debating the death penalty with a Catholic novice, you will find them here and here.

King Lear takes place in pre-Christian Britain. The characters make various references to Roman gods such as Jupiter and Apollo.

Queen Elizabeth died in 1603, and Shakespeare had spent much of his career writing popular plays about her famous ancestors. When James I ascended the throne, Shakespeare wrote a play about his ancestors to honor the new king.

Note that the bloodthirsty Macbeth is not one of these ancestors. Rather, the noble Duncan, Malcolm, Siward, Banquo, and Fleance are the ancestors of James depicted in the play. Oh yeah, and the first seven of the show of eight kings. See below.

Not good. Concerned about a prophecy that says that Banquo’s decendants will be kings, Macbeth demands to know whether all that he has done has been for the benefit of another’s line. The witches show him eight kings, and Banquo’s ghost who points to them as his. These eight kings correspond with the eight actual Stuart kings of Scotland. The eighth king is James himself.

Well, I suppose the conventional answers are Romeo and Juliet and A Midsummer Night’s Dream. But I’ve had some success with Othello and Cymbeline which aren’t exactly the first plays that come to mind when I think of the term “age appropriate.” If you can find a way to help students make it their own, the experience will encourage them to appreciate Shakespeare, no matter which play you choose. Go with a selection that you’re passionate about, and maybe your enthusiasm will be infectious. Or, if you’re really daring, describe a few of the plays to the students, and let them choose which one they want to work with.

Ah, Jack Cade – one of Shakespeare’s most under-recognized comic characters. Propped up as a claimant to the throne, the rough-hewn Cade promises to kill all the lawyers and ban literacy. The famous scene is here and you can find Cade monologues here and here.

She’s pretty clearly evil, and I’ve never seen her played any other way, but that’s as far as I can go. I’m sure someone has played her otherwise. Does anyone have another experience, or an idea of an alternate interpretation?

This makes me very curious. Were they looking for my Tempest lipogram? Or did they have another reason to search for this? It seems pretty specific to me. Hmmm.

I leave the task of responding to the remaining search terms to my readers:

It’s time once again to check in on what searches people have done to find themselves at Shakespeare Teacher, and to respond in the name of fun and public service. All of the following searches brought people to this site in the past week.

There are two John Talbots in Shakespeare, both in Henry VI, Part One. Shakespeare distinguishes them by calling them Lord Talbot (the father) and John Talbot (his son). The son, I believe, only appears in two scenes, found here and here, and doesn’t really have what you’d call a monologue. In both scenes, Lord Talbot wants his son to flee the battle, but the young John Talbot prefers death to dishonor. The father has a larger part in the play, including a number of long speeches throughout the play, but I’m not sure which monologue you’re looking for. Perhaps you could look for a monologue here or here.

Well, that’s entirely subjective, but I will nominate Charles II of Spain who is a classic example of what happens when cousins marry.

For Shakespeare at his most fairy-tale-esque, check out the four Romance plays he wrote towards the end of his career: Pericles, Cymbeline, The Winter’s Tale, and The Tempest. If it’s actual fairies you’re looking for (and even a talking animal), then I’d recommend A Midsummer Night’s Dream. But one play that you might not expect to be influenced by fairy tales is none other than our own King Lear. Check out Love Like Salt to see the retelling of the source fairy tale across a variety of cultures.

It’s YouTube, and if you go there and search, the most relevant find seems to be this claymation version of the play, created by a fifth-grade class. I’ve directed Midsummer with fifth-graders, and even taped it, but the quality of the tape is too poor for posting. I am working on a number of video projects with 8th graders right now, and I hope to be able to share them with you by the end of next month.

This is the scene before the famous balcony scene, and it can be found here. Romeo appears on stage, having just left the party where he has met Juliet, and decides to hide from Benvolio and Mercutio so he can go back and find her. As Romeo’s friends search for him, they mock his preoccupation with love. Finally, they give up and leave. The next scene begins with Romeo’s response: “He jests at scars that never felt a wound.” This would seem to indicate that the action is continuous, and that a scene break is unwarranted. But tradition breaks the scene here, and really, who wants to be the first one to mess with the numbering of the balcony scene?

Henry VIII and Catherine of Aragon used Rapidshare until Henry’s break with the Catholic church in the early 1530’s. The Act of Unlimited Bandwidth was introduced into Parliment in 1532, and made Live Mesh the only permissible file hosting service in England. This enraged the Pope, who sent Henry a papal bull of excommunication as a PDF file via YouSendIt. It was his sixth wife, Catherine Parr, who convinced Henry to use Megaupload, which he did until his death in 1547.

I leave the task of responding to the remaining search terms to my readers:

I subscribe to a service called “SiteMeter” which allows me to see a limited amount of information about my visitors. One thing that I can see is if someone finds my site via a Google search, and what they were searching for.

It’s been a while, but every now and then I check in on what searches people have done to find themselves at Shakespeare Teacher, and to respond to those search terms in the name of fun and public service. All of the following searches brought people to this site in the past week.

Obviously, this depends on how much time you spend reading per day, how quickly you read Shakespeare, and how deeply you want to examine the text. But Macbeth is a play, and is one of Shakespeare’s shorter plays at that. You could probably stage an uncut production in about two and a half hours. A first-time reader should be able to make it through the text in two evenings. Reading it out loud in a group should not take more than four hours, including breaks between acts.

“The Promised End” is the last episode of the Canadian television series Slings & Arrows. As with all Season 3 episodes, the title is taken from King Lear. In the last scene of the play, Lear enters carrying his dead daughter and, in a mixture of delusion and denial, believes it is possible she is still alive. Kent looks at the pathetic scene and laments “Is this the promised end?” After a lifetime of power and majesty, Lear has become an object of pity. And if a king can be reduced to this, what end can the rest of us be promised?

The word analysis makes me think this is a homework assignment, but no matter. Here’s the scene. Othello’s hardly in it, and doesn’t seem all that arrogant to me. Did you mean Iago’s arrogance?

I still get a lot of hits for this. But we should clear up the difference between descendants of the Tudors, and descendants of King Henry VIII. Henry VIII has no known descendants, though the conversation continues. But the Tudor line was founded, not by Henry VIII, but his father, Henry VII. His line continued, not through son Henry, but through daughter Margaret. She was ancestor to all future English monarchs. So there are many, many people descended from the Tudors alive today.

This may be controversial, but I’m not a big fan of teaching King Lear in a K-12 setting. I know there are people who have done wonderful things with it, but I think there are better choices. The themes of the play are really more relevant to more mature audiences. I think kids relate better to young lovers, revenge killings, and battles for power than they do to the strained relationships between aging parents and their adult children. It’s one of the greatest works of literature ever written, but I think it takes some life experience to digest. I’ve only ever taught it once, in an advanced graduate course in Shakespeare, and it was one of the best experiences I’ve ever had teaching Shakespeare.

I admit I could be wrong about this, but I hold this belief firmly. I look forward to one day being convinced otherwise.

This is probably not what you were looking for, but my name is Bill.

I leave the task of responding to the remaining search terms to my readers:

Ladies and Gentlemen, set your DVRs. Via the Shakespeare Geek, we learn that the Ian McKellen King Lear will be on PBS tonight. Check your local listings. Here in New York, it will be on Thirteen at 8pm.

I saw McKellen play King Lear live, and I can highly recommend this production.

The Shakespeare Teacher has returned. We now return you to the blog, already in progress.

Thanks to DeLisa, Annalisa, Claudia, Ro, and Kimi for helping keep the ball in the air while I was away. Contest results will be posted in a few days. But first, we have some business.

This blog just reached 30,000 hits, and that means that it’s time to break out the cake and SiteMeter counter.

For the record, I was the 30,000th hit. I checked the blog last night when I got home from work at 6:22pm. I was checking to see how close we were to 30,000.

At this point in time, the blog’s Technorati ranking is 228,034 with an authority of 26.

Once again, many thanks to all who have visited, and continue to visit.

This blog turned two years old yesterday. Right now, it has a Technorati ranking of 453,743, with an authority of 13. As of midnight, New Year’s Eve, there were 525 posts in 62 categories, and 1,573 approved comments. The site also had 27,055 hits. Many thanks again to all who have visited and also to those of you who have joined in the fun.

I haven’t been around much in the past week, so I’ll post a light Googleplex today. All of the following phrases are search terms that brought people to this website in the past two weeks. As always, I invite readers to respond.