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    Florida schools plan to use only excerpts from Shakespeare to avoid ‘raunchiness’

    Teachers in a Florida county are preparing to use only excerpts of works by William Shakespeare, rather than whole plays, as part of an attempt to conform to hardline rightwing legislation on teaching about sex .“There’s some raunchiness in Shakespeare,” Joseph Cool, a reading teacher at Gaither high school in Hillsborough county, told the Tampa Bay Times. “Because that’s what sold tickets during his time.”But, the newspaper said: “In staying with excerpts, the schools can teach about Shakespeare while avoiding anything racy or sexual.”The legislation at issue is the Parental Rights in Education Act, commonly known as the “don’t say gay” law for its clampdown on teaching about LGBTQ+ and gender issues.The act was signed in March 2022 by Ron DeSantis, the hard-right Republican governor who is now running for the 2024 Republican presidential nomination, and expanded in April this year.The law has fueled widely reported culture-war clashes, including parental pushes for book bans in public school libraries and a legal battle between DeSantis and Disney, a major state employer which opposes the law.According to the Tampa Bay Times, the Hillsborough county school district has also switched to using excerpts as a way to help students meet state Benchmarks for Excellent Student Thinking, teachers aiming to give pupils a broad range of knowledge based on one whole novel and excerpts from five to seven novels or plays.But the Parental Rights in Education Act also says material that is sexual in nature should not be used in classes not concerning sexual health or reproduction.Prudishness towards Shakespeare’s discussion of sex or use of sexual slang is not new. As the Royal Shakespeare Company notes, “Early editions of Shakespeare’s plays sometimes ignored or censored slang and sexual language.“But the First Folio [published in 1623] reveals a text full of innuendo and rudeness.”skip past newsletter promotionafter newsletter promotionSuggesting that some sexual references may yet creep unwittingly into Florida classrooms, the RSC gives extensive examples of “slang or sexual language which were clearly understood by Shakespeare’s original audiences but may be less obvious to audiences today”.In Florida, rightwing groups such as Moms For Liberty also offer reading lists, selections more likely to include fellow travelers of the far-right John Birch Society than the works of Shakespeare.Cool, the Hillsborough county high-school reading teacher, told the Tampa Bay Times: “I think the rest of the nation – no, the world, is laughing us. Taking Shakespeare in its entirety out because the relationship between Romeo and Juliet is somehow exploiting minors is just absurd.” More

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    Much ado about Doug: second gentleman takes spotlight at Shakespeare debate

    Much ado about Doug: second gentleman takes spotlight at Shakespeare debate Doug Emhoff, Kamala Harris’s husband, argues in a mock trial hosted by the Shakespeare Theatre Company and presided over by Stephen Breyer“I haven’t been in court for a few years, so excuse me if I’m a bit rusty,” said Doug Emhoff. “You know, not too much has changed in my life – except for the Secret Service, Air Force Two, the selfies, the cameras following me everywhere, and oh: my wife is the vice-president of the United States.”Mood as light as spring air as Ketanji Brown Jackson delivers words to rememberRead moreThe theatre erupted in whoops and clapping. Kamala Harris, sitting in the fifth row with her sister Maya, blew kisses through a black face mask and applauded her husband.It was one of those only-in-Washington moments. On Monday, the Shakespeare Theatre Company hosted a “mock trial” inspired by William Shakespeare’s romantic comedy Much Ado About Nothing and presided over by retiring supreme court justice and good sport Stephen Breyer.Much Ado is best known for Beatrice and Benedick, two proud intellects who only fall in love after others play Cupid. That seemed fitting for Harris and Emhoff, who were set up on a blind date by a mutual friend and married just shy of their 50th birthdays.But the question before the not-so-serious court was: should Margaret be held liable for Don John’s defamation of Hero? Emhoff, who was a prominent entertainment lawyer for nearly 30 years, was lead advocate on Margaret’s behalf.The event, full of inside-the-Beltway topical gags, had been due to take place last month but was postponed after the second gentleman came down with coronavirus.“I thank your honours for granting my motion for a continuance due to plague,” began Emhoff, wearing a dark suit, blue shirt and blue tie, and standing at a lectern under bright stage lights. “The White House apothecary told me my symptoms would be wild but – whew!”The mock trial is a longstanding Shakespeare Theatre Company tradition but had gone virtual for the past couple of years, due to the pandemic. Monday marked a return to an in-person audience at the Sidney Harman Hall but it was also livestreamed.Emhoff, an amiable and slightly goofy presence, remarked: “My parents tonight are watching the livestream but I might have told them that I was arguing in front of the United States supreme court so, cameraperson, can you just keep a very tight shot … ?”The second gentleman faced quick-fire questioning from Breyer and four leading judges from the District of Columbia and Virginia.“How do you define woman?” asked one, a nod to the recent esoteric questioning of the supreme court nominee Ketanji Brown Jackson by Republican senators.Tongue firmly in cheek, Judge Amy Berman Jackson said she was interested in Beatrice and Benedick.“He says he doesn’t want to marry anyone but I think it’s clear from the text that his real concern is that if he marries somebody who’s really pretty and is really smart and witty, she could turn out to be the one who is better known and more prominent than he is.”There was laughter from the audience. There was more when Emhoff responded dryly: “As I say, your honour, I used to be somebody.”The judges – relishing a chance to let their hair down – also made references to Will Smith’s slap of Chris Rock at the Oscars, Britney Spears’s conservatorship, Downton Abbey, Republicans Madison Cawthorn and Marjorie Taylor Greene, and Jennifer Lopez and Ben Affleck.Emhoff was careful not get too political. One judge asked: “So when Beatrice tore up her love letters, making them unavailable to investigators, was that a violation of the imperial records act? If so, is Merrick Garland going to get around to that?”The second gentleman demurred: “There’s certain things I’m not allowed to talk about.”Simon Godwin: how the British director is taking on US theatreRead moreBut he did take a deft swipe at Donald Trump’s oldest son, during his defence of Margaret.“She was just an unwitting pawn in the scheme of the real villain here, the self-described villain: Don Jr – I mean, Don John.”The case against Margaret was put by Debra Katz, a DC litigator and founding partner of Katz, Marshall & Banks. The judges and the theatre audience ruled in her favour, whereas the audience watching via livestream sided with Emhoff.Harris then took to the stage, gave Emhoff a hug, posed for photos and and spoke with those assembled including Britain’s Simon Godwin, artistic director of the Shakespeare Theatre Company.Someone managed to get a selfie with Emhoff before the Secret Service trod the boards and encouraged Harris to exit, stage right.TopicsUS politicsThe US politics sketchKamala HarrisDemocratsWilliam ShakespeareTheatrenewsReuse this content More

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    To be Trump, or not: what Shakespeare tells us about the last five years

    The time is out of joint. When lost for words, as many have been over the past five years, William Shakespeare is a useful go-to guy. His plays have helped us make sense of plague, political upheaval and a mad monarch, delivering soliloquies by tweet.
    “While maintaining his career as the most-produced playwright in the world, he is also moonlighting as the most-cited provider of metaphors for the Trump era – and particularly its denouement,” Jesse Green, the chief theater critic of the New York Times, observed last month. “Hardly a thumb-sucking political analysis goes by without allusion to one of the 37 canonical plays, however limited or far-fetched the comparison may be.”
    But as the dust settles on the Trump presidency, Green’s exhortation – brush down your Shakespeare, stop quoting him now – seems unlikely to gain much traction.
    Books have been written. Jeffrey Wilson, a Harvard academic, is the author of Shakespeare and Trump, published last year. The book’s cover features its title emblazoned on a red cap, in lieu of the words “Make America great again”, beneath a pair of donkey’s ears.
    “The thesis of the book is tragedy but we’ve got a little bit of comedy in there too,” Wilson says. “So the cover alludes to Shakespeare’s character Bottom, who’s this kind of huckster blowhard who gets his head turned into a donkey to symbolise the stupidity. Plus, Bottom’s just obsessed with building a wall in A Midsummer Night’s Dream.”
    Which other characters parallel Trump? “There’s going to be Julius Caesar, who thinks he’s a god over people, not one of them. There’s going to be Richard III, this power-hungry criminal whose clownishness seduces supporters. There’s going to be Macbeth, whose thirst for power is wrapped up in his fragile masculinity.
    Book embed
    “There’s going to be Henry VI, this child king whose weak leadership creates this fractious counsellor infighting all around him. There’s going to be Angelo in Measure for Measure, a self-declared law-and-order guy who is himself a criminal. And there’s going to be King Lear, who so completely binds the personal and the political that the collapse of his government is also the collapse of his family.”
    When the pandemic finally ends and theatres spring back to life, that list will offer rich pickings to directors. There is a long tradition of holding up the mirror of Shakespeare to specific cultures, from Akira Kurosawa’s Throne Of Blood, The Bad Sleep Well and Ran to irreverent productions in South Africa that critiqued apartheid.
    Some are subtle, others on-the-nose. In 2017, the director Oskar Eustis’s production of Julius Caesar in New York’s Central Park depicted the eponymous character with blond hair and red tie. It all caused a brouhaha in conservative media: corporate sponsors pulled support, protesters stormed the stage and Eustis received death threats.
    Wilson reflects: “When I asked [Eustis], he insisted he wanted it to be a very blunt instrument. The fascinating thing for me about that production is that it may or may not have helped us better understand Donald Trump but it helped me better understand Julius Caesar as a text.
    “It allowed us to use Trump as a lens for understanding the way that Shakespeare wrote this play, which is so filled with comedy in the first half, the kind of outrageous, obnoxious, satirical comedy that is so associated with Trump. That’s how Shakespeare’s Julius Caesar should be performed.”
    The play, he says, “is drawing upon tropes of the 17th-century clown, the antichrist who comically comes on stage and thinks that he’s the most glorious thing ever invented and is revealed to be a total fraud.
    “You don’t really get that sense of Julius Caesar when you watch most Shakespearean stagings of the play but by using Trump as a lens to understand that, we can use the accessible emotions and knowledge that we have from current events to rethink how we should read this distant, old, obscure literature.”
    Wilson’s book also considers how America has seen Shakespeare in the age of Trump. A month after his victory in 2016, for example, students at the University of Pennsylvania took down a portrait of Shakespeare and replaced it with a photo of Audre Lorde, an African American writer, feminist and civil rights activist.
    Steve Bannon, who led Trump’s winning campaign and became a White House strategist, was previously a banker, media executive and Hollywood producer who in the 1990s co-wrote two Shakespearean adaptations: a Titus Andronicus set in space, complete with ectoplasmic sex, and a hip-hop Coriolanus, based in South-Central LA.
    The screenplays are not publicly available but Wilson tracked them down – and found an insidious racism. He writes: “Specifically, Bannon’s Coriolanus suggests that African Americans will kill themselves off through Black-on-Black crime, while his Andronicus tells the story of a ‘noble race’ eliminating its cultural enemies on the way to securing political power.”
    Wilson adds: “NowThis did a table read of Coriolanus and actors were just sprinting to get through the lines. One of them said, ‘It sounds like he’s never met a Black person in his life.’” More

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    Trump Defends the Honorable Insiders

    In the midst of the coronavirus crisis, a scandal emerged at the end of last week when the media reported that four US senators may have engaged in insider trading by selling off their shares in hotel stocks after learning in confidential hearings of the likely effect that the virus would have on the stock […] More

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    Shakespeare in a Divided America by James Shapiro review – how the bard found his greatest stage

    A timely, clever analysis of why Shakespeare continues to cast a spell over American politics The readiness is all. Ever since president John Adams rewrote a passage from Henry V to demonstrate how a foreign power might conspire to place a more pliable president in the White House, Shakespeare’s plays have been at the heart […] More