I’ve got some tickets to Shakespeare! Can’t wait to meet him.

Posted: May 16, 2024 | Author: | Filed under: Brief...therefore witty. | Tags: , , , , , , , , , , , , , , , , | Leave a comment

A few centuries ago, having some tickets to a Shakespeare play would have been the hottest in town.

On 24th May 2024, the approaching date I have tickets for, there is a different perspective on the price of the ticket and the opportunity it represents.

Much Ado About Nothing has been performed more than a few times prior to the current run it’s enjoying at The Globe.

Over a few centuries there’ve been many thousands of performances, but really the appreciation for whether it’s a hot ticket or not is affected by the greatly reduced chance of bumping into Will Shakespeare in the queue for an ice-cream in interval.

But he’ll still be there. Not in essence, or in spirit, but physically. Is laughing not physical? Is the inner recoil of dread that comes when you know someone’s about to be cooked in a pie – not an ‘in the room’ feeling of physical?

Not really no. But he will still be there in in essence – whatever that means.

I think it means – ‘it would be nice if he was there’, but he isn’t really there. Though he is. Obviously.

Then again, for most of the time for most of the world, Shakespeare wasn’t there.

Perhaps, if it weren’t a good chunk of a millennia later, we might not ‘get‘ the meaning of his plays.

Without the insights of Shakespeare experts, with tremendous artists and producers, Shakespeare’s best might be only as good as a joke told by someone who doesn’t get why it is, or isn’t, funny.

Intonation is a tricky thing to express through a blog, but the point I’m making is that without it – well applied by actors (indeed – thespians) – Shakespeare isn’t so good.

Obviously, Shakespeare is good (maybe even great) – but how plebs like me come to realise that is thanks to other people realising that, and studying and rehearsing over years and decades to culminate with me thinking “oh, actually this is better than ‘good‘.”

And all the emotions around that.

The best thing a writer can do is strike recognition within the readers, and elevate from there. That’s the basis of comedy and tragedy. And Shakespeare did this then, but continues to do so now thanks to the interpretations of the experts today.

They’re ‘Thespians‘ – don’t’cha’know (using way more apostrophes then Shakespeare would have ever had).

I know this, from life.

I saw Two Gentleman of Verona at the Marlowe in Canterbury a few years ago. They took the stand by departing from script to laugh at anti-Irish joke, and bringing the audience with them in appreciating that anti-Irish isn’t really something people want to get behind any more.

Kenneth Branagh’s ‘Much Ado (About Nothing‘ – but it’s much cooler with just the first two words) – was intonation HEAVY and including a deck chair. Shakespeare didn’t include a deckchair, but Branagh did – and we’re better-off for it.

Then again, I had a bad time at Regent’s Park Theatre once, with Director portraying the tale A Midsummer’s Night Dream as one of much social discontentedness. Which was a semi-bad translation. Yes, such tyranny over a daughter (Hermia) is awful, but “though she be but little she is fierce” is spunky-enough to bring us through it.

Ultimately , we need to bring it back to the Thespians returning Shakespeare to the stage on the evening of 24th May 2024 – with his essence filling a theatre. We do get to meet him – the world-changing professional writer and personal poet that could cobble together a history to please a paymaster and Lord, whilst summarizing the variety of human conditions with soul-shuddering prose and a donkey’s head.

It’s a matter of hope.

Shakespeare was hopeful. He shared that with us. And it is a wonderful thing with which to leave a theatre.

And it only cost a tenner for standing room. Sore feet. Would recommend.