Episoder
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Episode 159
For today’s guest episode we are going back to the Italian renaissance theatre and the world of the Commedia Dell’arte. You will remember that I covered the Commedia and other early Italian theatre in season five of the podcast, but in this conversation with Serena Laiena we have much more detail about a particular theatrical couple and the world of 16thcentury Italian theatre. In her book ‘The Theatre Couple in Early Modern Italy: Self-Fashioning and Mutual Marketing’ Serena looks at the birth of a phenomenon, that of the couple in show business where she focuses on the mutually beneficial promotional strategies devised by two professional performers and husband and wife team, Giovan Battista Andreini and Virginia Ramponi.
Serena Laiena is Assistant Professor in Italian and Ad Astra Fellow at University College Dublin. Her research focuses on early modern Italian theatre, especially commedia dell’arte. Most of her time is devoted to the understanding of the social and cultural role of the first professional actresses in modern history. The award-winning monograph that is the basis of our discussion today was published in 2023 by the University of Delaware Press. Currently, she is working on a book-length project focusing on the correspondence by and about professional actresses to bring to light the managing roles they performed within theatre companies.
For more details on Serena's book:
UK link to Amazon.co.uk: https://www.amazon.co.uk/Theatre-Couple-Early-Modern-Italy-ebook/dp/B0C9F9T6RX/ref=sr_1_1?
US link to Amazon.com: https://www.amazon.com/Theatre-Couple-Early-Modern-Italy/dp/1644533154/ref=sr_1_1?
Link to publisher's website: https://udpress.udel.edu/book-title/the-theatre-couple-in-early-modern-italy-self-fashioning-and-mutual-marketing/
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Episode 158
Picking up the journey through Shakespeare's plays with 'Richard II'
A brief summary of the play
The early performance history of the play
The early print history of the play
The variations in the quarto editions concerning the deposition scene
The sources for the play
The role of the play in the Essex rebellion
The historical accuracy of the play
The dramatic arcs travelled by Richard and Bolingbroke
The political represented in the personal through the female roles
The significant role of minor characters
How verse is used in the play to distinguish the noble characters
The question of the divine right of kings and how it affects Richard’s character
The end of the play, Bolingbroke’s regrets, and how we might feel about them
The later performance history of the play
Support the podcast at:
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Manglende episoder?
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In the fifth part of this short series of guest episodes before we get back to continuing the journey through the Shakespeare and Jonson cannon I had the chance to speak with Dr Ian McCormick about the collection of essays he edited, which pulls together recent Shakespeare criticism in the framework of woke and anti-woke culture and the culture wars of recent years. It is a wide ranging and thought provoking collection.
Ian McCormick, was a Professor in the Department of English for the School of Cultural Studies at the University of Northampton, where he taught Shakespeare, Renaissance Literature, 18th-century Literature, and Literary Theory. He has edited and contributed to books in various fields including sexuality and gender studies; modern and postmodern literature; teaching and learning strategies; drama education and critical theory. He has contributed to many academic publications, written a novel inspired by 18th century epistolatory novels and in the past he has organized two major international conferences for the British Society for Eighteenth-century Studies, at St John's College (University of Oxford). For the full details of Ian's biography please see the guest page on the podcast website.
Links to 'Woke Shakespeare':
Amazon UK: https://www.amazon.co.uk/Woke-Shakespeare-Rethinking-New-Era/dp/B0DQYB2TS5/ref=sr_1_1?
Amazon US: https://www.amazon.com/Woke-Shakespeare-Rethinking-New-Era/dp/B0DQYB2TS5/ref=sr_1_1?
If you are interested in being considered to make a contribution to the next volume ‘Shakespeare: New Voices’, you have until the 30th June 2025 to make an application via the Penn State University call for papers page, where some details of the requirements are explained https://call-for-papers.sas.upenn.edu/cfp/2023/05/18/shakespeare-new-voices
Support the podcast at:
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In the fourth part of this short series of guest episodes before we get back to continuing the journey through the Shakespeare and Jonson cannon today’s episode is a repeat of episode 32 of the podcast, first released in late 2020. Having just produced an episode on satyr play on the main podcast and another on the papyologists who rediscovered the play Trackers for the fledgling Patreon account I was very pleased to be able to talk to theatre director Jimmy Walters who have produced a revival of the play The Trackers of Oxyrhincus by Tony Harrison. To hear from first-hand experience what it was like to produce a modern adaptation of a Greek play, especially something as rare as the satyr play was a real treat. It is, I think, worthy of another listen if you heard it at the time, or a first listen if you have only joined us for the later theatrical periods.
Jimmy Walters has been a professional actor and then director for almost twenty years. In his directing career he has presented work at most of London’s most prestigious off-west end venues, including the Finborough Theatre, Southwark Playhouse and the Jermyn Street Theatre and at other venues around the UK. Since 2022 he has been Education Practitioner for Shakespeare’s Globe leading Shakespeare workshops onsite for children of all ages.
Support the podcast at:
www.thehistoryofeuropeantheatre.com
www.patreon.com/thoetp
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In the third part of this series of guest episodes before we get back to continuing the journey through the Shakespeare and Jonson cannon, we are going deep into the world of the renaissance period boy actors, or perhaps, as they should more properly be called, apprentice players. The habit of the period of young actors playing female roles is well known, but when I had the chance to talk to Roberta Barker about her study of apprentice players it soon became very clear that there is a lot more to their position in the playing company than that and we get to meet some of them as personalities in their own right.
Roberta Barker is a member of the Joint Faculty of King’s College, London, where she is Professor of Theatre teaching in the Foundation Year and Early Modern Studies programs, and Dalhousie University, Halifax Nova Scotia, where she teaches Theatre in the Fountain School of Performing Arts. Her research interests centre upon the relationship between performance and the social construction of identity and has explored such topics as the representation of gender and class in early modern tragedy, the early modern careers and modern afterlives of Shakespeare’s boy players, and (most recently) the role played by the performance of illness on the nineteenth-century stage in the evolution of realist style. She is also a theatre and opera director.
Support the podcast at:
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Episode 154
As you know form last week’s episode I’m running a short series of guest episodes before we get back to continuing the journey through the Shakespeare and Jonson cannon. Today’s episode is a repeat of episode 30 of the podcast, first released in late 2020. At the time I was discussing the early theatre of Rome and with the Ancient Greek theatre already under my belt I had started to reach out to academics and authors who could add depth and colour to the research that I had been able to do. This episode with Dr Elodie Palliard was, I thought, particularly helpful in describing the likely developments in theatre in the murky period between the end of recorded Athenian theatre and early Roman theatre. It is, I think, worthy of another listen if you heard it at the time, or a first listen if you have only joined us for the later theatrical periods.
Dr Elodie Paillard is currently an Honorary Associate in the Department of Classics and Ancient History at the University of Sydney, and a Partner Investigator in the Australian Research Council discovery project 'Theatre and Autocracy in Ancient Greece'. She is also a Project Leader at the University of Basel, financed by the Swiss National Science Foundation. After completing a PhD thesis on the staging of socio-political groups in Sophocles, and a postdoc on Greek theatre in Early Imperial Rome and Campania, Elodie is now working on Greek theatre in Republican Italy (500-27BC). She is also a member of the editorial board of the journal Mediterranean Archaeology.
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Episode 153
Today’s guest episode serves as a great precursor to what is to come. The discussion that you are about to hear with Charles Mosely focusses on Shakespeare as a man of the theatre and discusses how the plays were created for and affected by the Theatre, the Audience and the conventions of the time. And that brief description does not do this wide ranging and detailed discussion any sort of justice. I think all of the thoughts that Charles discusses are well worth holding I mind as we work through the plays of Shakespeare and Jonson over the coming months.
Charles Moseley is a difficult man to summarise in a few words. He is a historian, literary critic and travel writer, but that only touches on part of his extensive output and experience. Most relevant for our purposes today are his years as College Lecturer in English
at Magdalene College, Cambridge, then Director of Studies in English (and later Fellow) of Wolfson College, and finally Senior Tutor and Director of Studies in English at Hughes Hall, Cambridge. The depth of knowledge and enthusiasm that Charles holds for his subject is, I think, quite self-evident and I am sure you will enjoy every moment of this, just as I did.
To see more about Charles, his publications, and other writings, including a fuller biography you can go to www.charlesmoseley.com
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Episode 152
Following on from my thoughts on A Midsummer Night’s Dream last time I’m very pleased to welcome back Rachel Aanstad to the podcast for further thoughts on the play. You may remember from our previous conversation about Twelfth Night that Rachel has devoted a lifetime to both the study and presentation of Shakespeare plays and as with Twelfth Night she has written an Illustrated Handbook and Encyclopaedia on ‘A Midsummer Night’s Dream’. This includes a complete rendition of the play along with a detailed glossary of terms, scene by scene analysis, an examination of characters and themes and practical advice for anyone directing, acting in or producing the play. I found it invaluable in helping me to solidify my thoughts about the play and highly recommend it, whatever your interest in the play.
Rachel Aanstad is a writer, artist, historian and self-confessed Shakespeare nerd. She has an MFA in theatre and is the former Artistic Director of Rose City Shakespeare Company. She lives in the pacific Northwest from where she writes books about Shakespeare’s plays. For our purposes today she is supremely well qualified to discuss ‘A Midsummer Night’s Dream’ as, apart from her lifelong love of the play and her academic study, she has directed three productions of the play, one that was circus based, one that was burlesque based and one audio production.
Links to ‘A Midsummer Night’s Dream: An Illustrated Handbook and Encyclopaedia':
UK link: https://www.amazon.co.uk/Midsummer-Nights-Illustrated-Handbook-Encyclopedia/dp/B09PKSTL1S/ref=sr_1_2
US link : https://www.amazon.com/Midsummer-Nights-Illustrated-Handbook-Encyclopedia/dp/B09PKSTL1S/ref=sr_1_2
Support the podcast at:
www.thehistoryofeuropeantheatre.com
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Episode 151
Having finished with Ben Jonson’s biography we can now go back in time just a little to work through Shakespeare’s and Jonson’s plays in more detail. By the early 1590s was then the man of the theatrical moment, no longer the young upstart, but the proven playmaker and ‘A Midsummer Night’s Dream’ surely did nothing but enhance that reputation and it has been popular ever since.
A brief synopsis of the play
The dating of the play
Suggested settings for the play as a wedding celebration
The sources for the play
Biblical influences
Publication of the play
The central themes of the play
The darker elements of the play
Theseus and Hippolyta and the setting of the play
The blindness of desire and passion
The question of the nature of attraction
The four lovers as exemplars of romantic love
The significance of the play within the play
The role of the rude mechanicals
How the play within the play tells us something about theatre practice at the time
Barriers to love – including a wall
A brief performance history of the play
Links to ‘A Midsummer Night’s Dream: An Illustrated Handbook and Encyclopaedia' by Rachel Aanstad:
UK link: https://www.amazon.co.uk/Midsummer-Nights-Illustrated-Handbook-Encyclopedia/dp/B09PKSTL1S/ref=sr_1_2
US link : https://www.amazon.com/Midsummer-Nights-Illustrated-Handbook-Encyclopedia/dp/B09PKSTL1S/ref=sr_1_2
Support the podcast at:
www.thehistoryofeuropeantheatre.com
www.patreon.com/thoetp
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Episode 150:
For this very appropriately timed guest episode, which is released on the 6th January, Rachel Aanstad kindly agreed to come on the podcast and talk about the Elizabethan twelfth night traditions and Shakespeare’s play of the same name. As you will hear our discussion became very much more wide ranging than that, as is often the way when we talk about Shakespeare. Rachel’s close study of the play came about not only because she has written on the play in her book 'A Bawdy Twelfth Night or What You Will an Encyclopaedia & Dramaturgical Handbook', but because she has directed productions of the play. You will hear more on both those subjects as part of our conversation. Rachel Aanstad is a writer, artist, historian and self-confessed Shakespeare nerd. She has an MFA in theatre and is the former Artistic Director of Rose City Shakespeare Company. She lives in the pacific Northwest from where she writes books about Shakespeare’s plays and is currently writing about Shakespeare’s Influences for Pen and Sword which is to be published in 2026.
Link to Twelfth Night or What You Will an Encyclopaedia & Dramaturgical Handbook:
https://www.amazon.co.uk/Encyclopedia-Dramaturgical-Shakespearean-Encyclopedias-Handbooks/dp/B0BT2DZGTK/ref=sr_1_2?crid=270NMNCDMCX6J&dib=eyJ2IjoiMSJ9.tVcWzIabdRqiYBHGeNEcEPE_eYeRCTf2qEk6LRL3xtSgV8Xm38761BsX6tFKvqjKVi4kgv9kswwDFah3JLS67KX0r09uWKDy68AO_XpCOAQ.4HjwcRalbW8x65UhvPQl4quprJrQQPJUaajyTm9xVYs&dib_tag=se&keywords=r+k+aanstad&nsdOptOutParam=true&qid=1735475971&sprefix=r+k+aanstad%2Caps%2C89&sr=8-2
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Episode 149
The life story of Ben Jonson concludes with events after the publication of his first folio to his death in 1637.
‘Bartholomew Fair’, a different sort of Jonson play.
The finances of the court become more problematic, and Jonson earns and spends money.
The trend for ‘projectors’ and Jonson becomes involved with Sir Willian Cockayne.
‘The Devil is an Ass’ satires money making projects.
Jonson is honoured by Oxford and Cambridge universities.
Jonson devotes a decade to poetry and scholarship.
‘The tribe of Ben’ forms at the Apollo Room.
Jonson’s library burns in a house fire.
Jonson’s health begins to decline.
The death of King James and the marriage and coronation of Charles 1st.
‘The Staple of the News’, Jonson’s first play for a decade.
Jonson’s health declines further.
Jonson is appointed as Chronologer to the City of London.
Jonson complains of poverty and receives money from supporters.
The late Jonson plays fail to impress at the playhouse.
‘A Tale of a Tub’.
A posthumous play, a play fragment and a collaboration.
Jonson dies in 1637 and is buried in Westminster Abbey.
Appreciation of Jonson since his death.
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'Will, Ben and Tom at Christmas' is an affectionate pastiche, with my very best wishes to you all for Christmas and the New Year.
Support the podcast at:
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Episode 148:
The life of Ben Jonson continues after he is released from prison after the publication of 'Eastward Ho!'
Jonson’s possible involvement in the gunpowder plot and it’s aftermath.
Jonson writes a masque for the marriage of Frances Howard and Robert Devereaux.
Jonson defends his religious position in the face of recusancy fines.
‘Volpone’ is performed at The Globe as Jonson continues to produce masques.
‘Epicene or the Silent Woman’ is performed at the Whitefriars Theatre.
‘The Alchemist’ is performed at Oxford in a time of plague.
The club at the Mermaid tavern.
The return to the Anglican Church.
Parliament’s financial settlement for the King curtails the expense on masques
‘Catiline his Conspiracy’ gets a rocky reception.
Jonson works as a tutor for the Sydney family.
The ‘grand tour’ with Wat Raleigh.
The scandal of Robert Carr and Frances Devereaux.
Johnson is granted a pension.
The first folio of ‘The Works of Benjamin Jonson’.
For your copy of ‘Cakes and Ale: Mr Robert Baddeley and his 12th Night Cakes’ by Nick Bromley go to www.lnpbooks.co.uk. The special offer price of £9.99 including UK postage is available until 6th January 2025
Support the podcast at:
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One of the generally accepted facts about theatre in the time of Shakespeare and Jonson is that boy actors took female roles and women were banned from appearing on the stage. This is in fact only partly true and my guest for today’s episode has made a study of how early modern actresses, from traditions on the European continent, influenced the English stage. During out conversation we covered aspects of European theatre from the early 1500’s, and Commedia Dell’arte in particular. You will find my take on this in season three of the podcast and if you have already listened to that hopefully some of the names will still sound familiar. We also talked about the influence of actresses on playwrights and plays from the period and hopefully you will remember Lilly, Marlowe and Kyd and The Spanish Tragedy from season four of the podcast. All those episodes are still out there on your podcast feed if you need a refresher.
Pamela Allen Brown is Professor Emerita of English, University of Connecticut. Her monograph The Diva’s Gift to the Shakespearean Stage: Agency, Theatricality, and the Innamorata was published by Oxford in 2021. With Julie Campbell and Eric Nicholson, she edited and translated Isabella Andreini's Lovers' Debates for the Stage, The Other Voice in Early Modern Europe (Iter, 2022). Previous books include Better a Shrew than a Sheep: Women, Drama and the Culture of Jest in Early Modern England; As You Like It: Texts and Contexts (co-authored with Jean E. Howard); and Women Players in England 1500-1650: Beyond the All-Male Stage (co-edited with Peter Parolin). She is a founding member of Theater Without Borders, a working group of scholars of early modern transnational drama, and she recently joined the New Books Network as a podcast host. Her poetry has appeared in Epiphany, First Literary Review East, New Square, Visual Verse, Public, Out of Sequence, and P/rose. For more on her work see:
https://www.pamelaallenbrown.com/
Support the podcast at:
www.thehistoryofeuropeantheatre.com
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Episode 146:
The banning of printed satire.
‘Every Man Out of His Humour’ is produced by The Lord Chamberlin’s Men.
‘Cynthia’s Revels’ is performed at court but is not well received.
‘Poetester’ is performed at the Blackfriars and sparks ‘the war of the poets’ with Dekker and Marston.
‘Sejanus: His Fall’ fails to impress.
Jonson cultivates friendships with nobility close to the Stuart dynasty.
The death of Elizabeth.
Entertainments for the arrival of Queen Anne in England.
Jonson’s contribution to the official entry of King James into London.
Jonson is ejected from court on Twelfth Night 1604.
The Court Masque.
‘The Masque of Blackness’.
‘Eastward Ho’ causes Jonson another spell in prison.
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Episode 145:
Continuing the story of Ben Jonson’s life from the point where just as he starts to make his mark in the theatre scene everything goes very badly wrong for him.
‘The Isle of Dogs’ at the Swan Theatre
The closure of the London Theatres
Jonson in prison
How the London theatres reopened
The Swan and Pembroke’s Men
Speculation on the content of ‘The Isle of Dogs’
Jonson’s other early work for the theatre
Jonson and the Lord Chamberlin’s Men
Jonson’s duel with Gabriel Spencer
Jonson in prison again
The conversion to Catholicism
Jonson’s trial and taking ‘the benefit of the clergy’
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Episode 144:
On several occasions through the story of the renaissance theatre I have touched on how the players made use of cue sheets rather than full scripts as they rehearsed and performed plays, so I was fascinated to see that there is a company of actors working today who produce plays by Shakespeare and other renaissance playwrights using cue sheets. Although we don’t have documentary evidence about exactly how they were used at the time and therefore how the rehearsal process worked, what better way to get an understanding of how they might have been used and what impact they had on productions than to produce plays using them and work through the practical issues and artistic choices that become involved.
Shake-Scene Shakespeare have produced work for live and on-line presentation since 2017 and continue to do so today, so I was very pleased when Lizzie Conrad-Hughes, founder, company Director and book holder for the company agreed to come and talk about the experience of producing cue-based theatre for a modern audience.
https://www.shake-sceneshakespeare.co.uk/
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Episode 143:
The second part of the life of Ben Jonson takes him from his birth, through his years at school and onto working as a bricklayer. He then briefly joined the army before returning to become a player, a poet and a playwright.
Jonson’s Scottish ancestry.
His father’s loss of position under queen Mary.
His Stepfather Robert Brett, bricklayer.
Life for the Brett/Jonson family on Christopher Lane
Jonson’s education at Westminster school.
Theatre at the Westminster School.
The influence of school master William Camden.
Jonson the bricklayer’s apprentice.
Jonson briefly attends Cambridge university – maybe.
Jonson the soldier and his service in the war in the Netherlands.
The Lord Mayor’s procession and the involvement of the Guild companies
Jonson’s contribution to the Lord Mayor’s procession.
Jonson the player for Pembroke’s men.
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Episode 142
Dr Natália Pikli discusses the changing view of the 'The Shrew' in Medieval and Early Modern European culture and how women are represented in Shakespeare's early comedies,
She then goes on to outline how Shakespeare became part of national Hungarian culture and how the plays have been treated in translation.
Dr Natália Pikli is Associate Professor at the Department of English Studies, Eötvös Loránd University, Budapest. She teaches medieval and early modern culture and literature and is Head of the relevant PhD Program. She also teaches contemporary popular culture, as well as theatre history and theatre reviewing for students majoring in Theatre Studies. She has published extensively on Shakespeare, early modern popular culture, theatre, iconography, and on the reception of Shakespeare in our days, with a focus on contemporary theatre. Her book chapters and articles appeared in, for instance, Shakespearean Criticism (Thomson-Gale, 2004), Shakespeare's Others in 21st-century European Performance (Bloomsbury, 2021), and in academic journals: European Journal of English Studies, Journal of Early Modern Studies (Florence) Shakespeare Survey (Cambridge), Theatralia (Brno). She (co-)edited five books and is the author of two monographs, The Prism of Laughter: Shakespeare’s ’very tragical mirth’ (VDM Verlag, 2009) and Shakespeare’s Hobby-Horse and Early Modern Popular Culture (Routledge, 2022). In her free time, she directs amateur student performances and writes theatre reviews.
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Episode 141:
In this episode I set us up for a look at the life of Ben Johnson discussing some of the sources for information about his life and how far we can trust them – it’s complicated.
Jonson’s 1618 visit to Scotland and why he might have undertaken the journey on foot.
His conversations with Drummond of Hawthornden.
Jonson’s opinions on other writers as reported by Drummond and thoughts on their validity.
Descriptions of Jonson by Aubery and Dekker.
The Johnson portrait.
How Johnson might have revealed himself in his work.
How his poems appear to be self-referencing but may not be as straightforward as they seem.
How his plays possibly include some self-revealing aspects.
Admiration of Johnson as equal to, or greater than, Shakespeare.
The modern reader and the problems with Jonson.
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