Now, this is obviously just speculation on my part, but given a) Greg Doran’s takeover as Artistic Director, b) the time elapsed since Hamlet and (although not for the RSC) Much Ado About Nothing and c) the fact that it’s so totally what I want to believe, I’m going to chuck it out there and hope for Macbeth, Richard III, Iago or (at a push, and I don’t think it will be) Coriolanus. I’d be especially thrilled by Richard III.
I can already feel the pre-ticket anxiety. Obviously there could be other very exciting projects on the horizon for the RSC, but I probably won’t be as excited unless it involves a Clean Break residency or a play about Ellen Terry.
EDIT: Okay, apparently it’s Richard II (thanks Poly Gianniba!). Given my great great love for the Jonathan Slinger/dir. Michael Boyd version from the Histories season, this gives me an almost comical existential dilemma.
Oh, what am I saying? It’s Tennant on a stage. Possibly with homoeroticism. Sign me up.
[…]Some say that ever, ‘gainst that season comes
Wherein our Saviour’s birth is celebrated,
The bird of dawning singeth all night long;
And then, they say, no spirit dare stir abroad,
The nights are wholesome, then no planets strike,
No fairy takes, nor witch hath power to charm,
So hallow’d and so gracious is the time.
So have I heard and do in part believe it.
2009 filmed version of the RSC production of Hamlet dir. Greg Doran; I.1. Peter de Jersey as Horatio; Keith Osborn as Marcellus; Ewen Cummins as Barnardo; Robert Curtis as Francisco.
Copyright RSC / Illuminations / BBC.
(when I worked in FOH for the stage version of this production, Keith Osborn and Peter de Jersey’s delivery of these lines were one of my favourite moments in the play – it was the mixture of chill and comfort)
n.b. I am not suggesting anyone should have A Very Hamlet Christmas. It would not end well.
Oxford is enjoying the long vac. This is the academic summer holiday; the period running from the end of 8th week Trinity (usually in late June), to October and Freshers’ Week. It is also the period to which proper academics refer as “time for getting some real work done”.
I’m doing my best. I’ve handed in a chapter draft & started work on another, only to discover that while reviews of Mrs. Patrick Campbell’s Shakespearean heroines (my last topic) were relatively few (journalists preferring to focus on Weird Saintly Johnstone F-R), every fin-de-siecle hack seems to have had at least 1,000 mind-numbing words to say about Ellen Terry in Cymbeline.
My DPhil project is (currently) entitled “Shakespeare’s Women and the Fin de Siècle”, a title I love & cling to because
a) it’s short
b) it doesn’t have a colon in it (ergo no need to find Witty Quotation/make Unfortunate Pun), and
c) it lets my project do what it says on the tin. At present, though, it’s the Fin de Siècle, rather than Shakespeare’s Women, giving me a mild academic headache.
Oxford’s broadly/tacitly historicist approach to English (yes, all right, excluding Wadham, & NDKAlex) has always suited me perfectly. Unfortunately, while beginning my last chapter, I realised I had absolutely no idea what happened in theatre, literature or indeed British history, in the years immediately following 1895. Apart from Jude Law shouting “OSCAR!” across a Mediterranean courtyard, that shot of Lillie Langtry in The Degenerates, and Robbie Ross summoning a priest to Paris c. 1900, the end of the nineteenth century remained a blank.
Given that much of my last chapter took place in and around 1895-8, this necessitated serious remedial research; fortunately successful. My new chapter centres on 1896, and I fondly imagined that this date – falling as it does under the big neurasthenic umbrella spread by the antics of Mrs Patrick “Skinny, Mad” Campbell – might make things easier. Oh no.
My supervisor, having reminded me that one version of my project was originally called The Actress and the Academy (I wish it’d been “The Actress and the Evangelist”, because if you’re going to have a pun, it should involve an actress and a bishop), has prescribed lots of C19 non- (and sometimes anti-)theatrical Shakespeare criticism.
I have thus spent much of this weekend with Schlegel, Hazlitt, Coleridge, poor old Hartley Coleridge (no wonder he turned out so weird), Lamb, Ruskin and Pater. Simultaneously, I’m trying to pin down the theatrical marketplace c.1898-1901 beyond my memories of the Forsyte Saga and a Ladybird Book of Kings & Queens awareness that, in 1901, Queen Victoria Has To Die.
Fortunately, it’s brilliant. So far I’ve popped back to 1892 (Tennyson’s deathbed & the Shakespeare-hugging) and then jetted forward to 1904 (Vedrenne and Barker beginning to manage the Royal Court). In between are a series of pleasing symmetries: it gratifies me hugely that 1895 was both the year of Irving’s knighthood, and the year Shaw became critic of the Saturday Review (mostly to spend the next three years inveighing against Irving on a weekly, public basis). If you’re on Team Shaw (I’m mostly not), it’s also immensely satsifying that 1898, the year Shaw published Plays Pleasant and Unpleasant, was the year Irving had to surrender the Lyceum Theatre to a syndicate.
In the midst of all this scattergun chronology, I cautiously feel I’m making progress and gaining, at the very least, some self-awareness about my research. Increasingly, I recognise a rhythm in the psychology involved in beginning a new chapter. Each time, it’s with scholarly-fingers-crossed that the distant instinct of x production potentially being useful or interesting to study (I found my first ever Thesis Outline last night. It made me laugh. And heave) will be justified by archival fulfilment of the Micawber principle that Something (Anything) Will Turn Up. So far, joyfully, it always has. But never the thing(s) I’ve expected.
Although it does nothing for my personal brand of Imposter Syndrome, I’ve learned that, in research, it’s rarely solely the Neat Planned Trajectory of Reading which delivers the goods. Obviously days-on-end of grunt work is essential (see my opening re: hacks/Shakespeare/Terry), but it’s often the chance remark made by your supervisor/panel chair/coffee buddy in the Bod/Costa/despair that sparks something new; or the book you pick up for £2 at a room-sale, or flick through in Blackwell’s. Or, it’s the “irrelevant” scrapbook you read for fun while in archives, or the weird small ads in the Post, or the lucky chronological coincidence you can’t control. The miraculous cannot, I’ve found, occur without the mundane: I usually find the Big Idea only when bored to tears by hours and hours of the Small. Perhaps there’s some weird scholarly symbiosis at work — actually, maybe this isn’t progress; on rereading, it sounds more like a retreat into archival mysticism. The Oxford Faculty of Magical Thinking. Damn.
Secondly, alongside this uncertainty principle (which COULD be interpreted as evidence of a rich field for research & hitherto unexplored complexities of fin-de-siecle theatre, thank you very much) there’s the sensation from which I’ve drawn the title of this post – the start of second-year research and an upgrade to Research 2.0.
Simply put, this is the unfolding student belief that, twelve months in and umpteen texts later, EVERYTHING IS CONNECTED. Suddenly, everything is linking up! Everything is helpful for everything! EVERYTHING must be written down, EVERYTHING speaks IN A VERY REAL SENSE to that other thing there, in that document, on that bit of paper, LOOK HOW IT ALL MAKES SENSE. ISN’T IT INTERESTING??? &c. Having drafted three chapters, I am suddenly transfixed: although nominally just researching Cymbeline, I start SEEING INSIGHTS EVERYWHERE re: Lady Macbeth, Marxism, big dead Tennyson, the Royal Court Theatre & other figures who belong elsewhere in my thesis… LOOK HOW IT ALL JOINS UP.
This is fun, but dangerous. A love of patterns, symmetries & the desire for a Grand Master Theory encourages me to see/overstate connections and conspiracies that might not exist. While a deepening sense of the period is crucial – definitions, relationships, geographies etc – I’m trying to balance this with caution about tying it all together in a quixotic version of the Victorian World Order (even if I really want to find that Big Idea and make it Unlock Everything Ever), and trying not to confuse INTERESTING with what’s actually important. Equally, to make progress on one chapter, I have to limit my exciting tangents re: others, at least temporarily.
Then again, I suppose that kind of tangential, experimental research is exactly what the vac is for! In the various begging letters written during my year out & time as a PRS (i.e. my Oxford, AHRC, STR, Helmore Award and other apps, thank god for imminent funding) I set out a schedule for completing the DPhil. This schedule made no mention of the Christmas, Easter or long vacs.
At the time, I had two reasons. Firstly, I knew the timetable was ambitious, and wanted to allow myself decent margins for expansion/alteration/disasters, should they occur (secretly, I was convinced I’d have to resit transfer). Secondly, at the start of my DPhil, I was unfunded, and expected to spend most or all of each holiday working (hence the stacks of A Level papers beneath which January was crushed).
Now funding approaches, but this vac time has been essential – both for finishing my third chapter, and starting teaching prep. Finishing Cymbeline by Christmas will mean I’m on track; sounds easy, no? But, again, teaching approaches. Not merely because of the volatile summer weather, I can’t help feeling I’m in the calm before the storm.
Not that I’m, you know, calm exactly. I’m moving house (yes, still), alongside one of the least calm people I know, viz. my namesake, who is taking Some Sort Of Exams on Tuesday. Most of them are about Death. Every time I bother her in the library, she’s reading books on What Happens When You Die (non-medics thinking of researching: oh my god, don’t), and her life at the moment seems to consist entirely of Palliative Care and salads from Alpha Bar. I am reassured that, after Tuesday, her eyes will return to their normal size. Her hair is going white.
Said medic has, however, been a star this week. Last Sunday, I was in Kent, where I not only attended The Most Beautiful (And Tasteful. And Moving. And Boozy) Wedding in-the-world-ever (it was here), but was bitten by some gladiatorial tropical deathfly that had visited England on summer exchange with the humble Kentish mosquito.
The lovely Emily, also bitten, had merely a slight itch in manner of a hardy German: I chose instead to stage my personal tribute to Cheryl Cole (except I bet she never had the left leg of an elephant with sunburn).
Sophie, my v. own doctor-in-the-house (who is doing far better at masking her native glint of clinical interest with the glow of human sympathy) has been sterling in pointing out the inadequacy of my home GP, and promising I won’t die. This is a vast step forward from The Time My New Bra Gave Me A Rash, when she poked said rash with one finger before saying “ooh, it doesn’t blanch”, and losing interest. I’m happy to live with her.
Meanwhile, I hope everyone on the East Coast or otherwise in the path of Hurricane Irene (why not Imogen, hmm?) is keeping safe. I go now to sort photo-frames into cardboard boxes.
Liz Woledge of the Shakespeare Birthplace Trust contacted me, asking me to participate in Happy Birthday, Shakespeare: the SBT’s 2011 project inviting bloggers to write about Shakespeare’s impact on their life and work. I was delighted to get involved.#hbws 1564-2011.
I exist because of Shakespeare. Hyperbolic though that may sound, it’s less an assertion of Shakespeare-as-self-help (although, if you’re in the market…) than a statement of historical fact.
My parents worked for the Royal Shakespeare Company; my mother was a Senior Wig and Make-Up Artist, my father a Deputy Stage Manager. They met during the RSC’s production of Othello in 1985, started dating in previews, were living together by press night, and got engaged five months later. They’ll celebrate their silver wedding in July.
Although Stratford babies have yet to start gurgling in iambic pentameter, my experience of Shakespeare has always been inseparable from my experience of Stratford. This sense of ownership has, quite naturally, engendered a sense of belligerent, smug parochialism that would put the inhabitants of Royston Vaseyto shame. Although wildly partisan about the glories of Stratford, from the Singing Man Of Henley Street to the architecture of the new theatre (which still looks quite a lot like a 1930s power station, but, good, I like it that way), I can, for the sake of argument, admit there might be an objectively equal town somewhere on planet Earth. The great thing about Shakespeare is that I have never needed to recalibrate my smugness. Shakespeare is the best, and the glorious thing is that the rest of the world seems to agree.
Growing up in Stratford, with theatre-loving parents and the RSC on my doorstep, I was guarded from the horrific slow death that can be a first encounter with Shakespeare at school. Instead, I saw my first production aged eight (Josie Lawrence in The Taming of the Shrew ) and benefitted from a drama teacher, Ali Troughton, who made Shakespeare’s language the birthright of seven-year-olds. The first speech I ever learned was the seven ages of man, and the first scene was the Witches in Macbeth. We were never taught that Shakespeare was difficult, boring or remote on some plain of exaltation; instead, he was immediate, exciting and ours.
I went on to take a degree in English, write a Masters thesis on Shakespeare performance history, and am now writing a doctorate on Shakespeare’s heroines at the Victorian fin de siècle. I’ve also directed and acted in Shakespeare productions, playing my way through his illustrious back catalogue of Women Who Are Short and Boys Whose Voices Haven’t Broken.
If Shakespeare has led me to some strange places, I can only apologise to my fellow-travellers. Special and fervent self-recrimination should be laid at the feet of one Jasper Britton, who had the misfortune to become the object of my schoolgirl adoration when I was fifteen, and he was in The Taming of the Shrew. Everything in my feminist, liberal, pinko-Pankhurst heart quite rightly rebels against Petruchio and all he stands for. Nothing can excuse the day I chased Mr Britton across the Bancroft Gardens to the cackling approval of a dozen other fifteen-year-old girls. Somehow, I went on to be the sort of Front of House staff member who could safely usher the Patrick Stewart/David Tennant Hamlet season. I also apologise to the student actress whom I forced to climb furniture around the edges of my college room, refusing to let her touch the floor in a “freeing” exercise to “help her find” Puck.
I, too, have suffered for Shakespeare. Part of my summer job with the Shakespeare Birthplace Trust (who bravely commissioned this blog post) involved me dressing as the first act of The Crucible in tropical temperatures while 3,000 visitors poured through the Birthplace each day. The upside is that I can now can now say “glovemaker” in Korean. Aged twelve, I wore a purple, gold and sky-blue blazer (I want you to take a moment to imagine that. Use this bracketed space to fully contemplate sixty eleven-year-old girls in purple, gold and sky-blue blazers. With shoulder pads) to represent my school in the Birthday Celebrations and lay flowers on Shakespeare’s tomb.
As an undergraduate, my Oxford tutors tried their best to vary my literary diet of Women, Gayness, Shakespeare and Death. I studied conceptions of masculinity, attended with joy to the thrusting passion of Heathcliff and Cathy, acknowledged Middleton and swapped John Donne’s self-burying sermon for… no, I still read about Death. For a term, I even followed the cool kids by pretending I preferred Marlowe to Mr W. S.
However, while a BA is a time for experimenting with bad haircuts and all kinds of textual identities, grad school is different (for one thing, you no longer have money for a hairdresser). Critics in feminism, from Sandra M. Gilbert to Anette Federico, have described how academic research increasingly becomes “a kind of re-search into our own lives”. This is true for me: my own experience of Shakespeare is equally inseparable from my experience of theatre, and of my hometown.
Today, my academic research explores performances of Shakespeare’s heroines at the end of the nineteenth century, a time when Shakespeare was simultaneously the planet’s most idolized and most contested playwright.
Reading the writings of our most famous Shakespearean performers – then and now – convinces me that however we encounter Shakespeare, whether as readers, scholars or performers, we have always used his plays to help us understand ourselves, and to articulate our own experiences.
Responding to the Arts Council England cuts, I wrote a polemic on the value of theatre, trying to express the ways in which theatre teaches confidence, creativity, self-belief and, above all, communities in which diversity, trust and risk-taking can flourish together. Everything that is true of theatre is especially true of Shakespeare. No other writer that I’ve found so consistently challenges and empowers all those who encounter him.
Back in 1882, Lillie Langtry, by then a sidelined Royal mistress with a bankrupt husband and illegitimate baby, turned to acting largely out of financial necessity. The result was artistic liberation. Staging Shakespeare she was, for the first time “my own master, my own mistress, and freed from unaccustomed control”. Generations of performers have felt the same freedom.
If this sounds too much like Bardolatry, I should say there are some plays I absolutely hate – King Lear is always about seven hours too long, and as one very famous Shakespeare scholar noted in my hearing, consists chiefly of “all those men going mad”.
This August, I’m thrilled to be seeing Catherine Tate and David Tennant in Much Ado About Nothing. I hope the combination of superstar actors and one of the world’s most-visited cities brings a new generation of theatregoers to one of Shakespeare’s best-loved, sharpest comedies. I hope seeing their first play encourages them to track down a second – and a third, and a fourth. Happy Birthday, Shakespeare.
WRITING ABOUT WOMEN IN SHAKESPEARIAN PERFORMANCE: The Shakespeare Centre, Stratford, 11-12 Sept 2010.
Join a gathering of writers, Shakespeare scholars, theatre critics, actors and fellow enthusiasts as we explore this fascinating theme. Confirmed speakers include Penny Downie (RSC Associate Artist), Professor Laurie Maguire, John Peter, Professor Carol Rutter and Anne Ogbomo. This two-day conference also includes a performance of 1623 Theatre Company‘s production on Ellen Terry, and a drinks reception.
This conference will also be available online as ‘webinar’: log on and experience our event virtually, wherever you are in the world.
How do we write about women in Shakespearian roles, past and present?
What is the impact of the female presence on the Shakespearian stage?
Why are there so few women reviewers?
What is the place of single-sex companies in a culture which outlaws sex discrimination?
Do men and women see the same show differently and what difference does this make to an audience’s response?
What is today’s experience for female actors on the Shakespearian stage?
Registration: £65 (£60 concessions); £57 for Friends of the Trust; £50 students. Please note: ‘webinar’ attendance costs 25% off your appropriate registration fee.
For more information, or to book, email education1 [at] shakespeare [dot] org [dot] uk. Join the conversation now at Blogging Shakespeare, and follow @ShakespeareBT for the latest updates.
Going out on a limb here: this is the most exciting conference in the world. I’m delighted to be working with Paul Edmondson to promote the conference, which has to be absolutely the best place IN THE WORLD to be on September 11 & 12. The conference (to quote my friend C, ‘BEST LINE UP EVER’) will tie in with SBT’s exhibition on artefacts relating to Women & Shakespeare, which runs from 3 July.
Modernism and High Theory did their very best to destroy the relationship between the actress and the academy – L. C. Knights’s first named target in How Many Children Had Lady Macbeth? was Ellen Terry, for daring to lecture on Shakespeare to (as I discovered) “packed houses of women”. Scholarship and stage histories have (largely) privileged tragedy over comedy and male over female, which is why conferences like this are so important, and so exciting. And, er, why I’m writing my DPhil.
I’m especially interested in the women of the Late Plays, but my favourite Shakespearean heroine will always be Kate, from The Taming of the Shrew. I’m hoping the conference includes lots of discussion of the comedies – the best parts in them, like the romances are female. Would you rather play Rosalind or Orlando? Orlando gets to wrestle, but nobody remembers As You Like It for the wrestling. Innogen or Posthumus? Viola or Orsino? Helena’s much too good for Bertram in All’s Well That Ends Well, and although Leontes is one of Shakespeare’s most fascinating characters, Paulina and Hermione can act him off the stage in Act V.
Miranda rarely outshines Prospero, and it’s hard to choose between Beatrice and Benedick, but even in A Midsummer Night’s Dream, the best-beloved ‘festival comedy’ of British theatre, Helena and Hermia shriek, scratch and claw their way through Act 3 – Lysander and Demetrius, too often, are left behind.
You can expect to hear a lot more from me between now and September, sharing preparations for the Conference, and the Trust’s experiments with new media. I sometimes wish I could Tweet from the Birthplace, while guiding – we get the most amazing (and often hilarious) comments from visitors. I’m slowly expanding my French/Italian/Japanese/Armenian (no really) vocabularies by working with group bookings and their interpreters. I think I’d look pretty good wielding a Tudor Blackberry. My favourite languages to date are Indonesian and Armenian, neither of which sound ANYTHING like you’ve EVER heard before (unless you’re Indonesian or Armenian, obviously). I’m always pushing people to sign the guest book – they date back to 1812, and 20 to 30 nationalities sign every day.
The Trust will soon release another, even greater piece of news. It’s huge. My scruples (read: direct orders) prevent me saying more, but it’s stunning, exhilirating, don’t-talk-to-the-press-about-this stuff. Shakespeare geeks and Stratfordians (no overlap there, then), get ready. I just hope the press release arrives soon, so I can gloat…
I’ve published my first piece on the Alligator! It’s a review of the RSC’s new production of Julius Caesar, featuring local actors Sam Troughton and Hannah Young, as well as Greg Hicks (left) in the title role. You can read my review here.
In other & exciting news, my friend Elizabeth (who writes Oxford, Abridged) just told me that we’ll be graduating on the same day – her from her M.St, me from my BA. So I’m really pleased about that.
In Michael Boyd’s new production of As You Like It, the action moves from the frozen monochrome of a court in crisis to a forest less welcoming than a Siberian tundra. The comedy of Rosalind following her father into exile in the Forest of Arden is often portrayed as a play of riotous thigh slapping and lurid green sets, with plenty of opportunity for flowers, straw, and a strutting “Ganymede” (Rosalind’s male alter-ego; this being Shakespeare, she exchanges her skirt for trousers for much of the play). Instead, the latest Royal Shakespeare Company production finds both savagery and beauty in this beloved Shakespeare play. The result is a compelling exploration of the comedy’s dark heart.
Returning from the Histories season, Boyd and designer Tom Piper create a new aesthetic for the new RSC ensemble. From the blue-ochre blaze of the Histories sets, Piper has moved to a starker, colder look. Initially, the stage is spare, the back of the courtyard dominated by a gleaming silver-white structure of square panels. Its metallic sheen provides a static backdrop to the glittering, inhospitable court that Duke Ferdinand, Orlando and Adam, Rosalind, Celia, and Touchstone successively flee.
But then Boyd and Piper unleash destruction on the set: the wrestling bout between Orlando and Charles smears the panels with blood; an enormous ball of straw bursts through double doors—quite literally the forest of Arden. Inside is Richard Katz’s Touchstone, a man with the frizzy grey hair of a clown, with his legs strait-jacketed together. The square panels are opened, battered, or removed altogether, revealing a casual abattoir (a deer hangs from a meathook, coat glistening), dead branches, or a dusty, yellow light. Instead of elegant poems on parchment, Orlando’s sonnets are big black letters on scrappy placards, enormous cardboard panels suspended from the flies or pinned to the pillars and set. In this production, the concepts As You Like It usually conveys with charm—clown, forest, poetry—are pushed to their limits, creating visual shocks that alternately amuse and surprise.
At the end of the interval, Geoffrey Freshwater as Corin guts and skins a real dead rabbit onstage. Detractors may find it too gory, but even the decapitation (a flash of the cleaver while the audience braces itself) is remarkable more for its efficiency than for its horror. The moment is an effective metaphor for a production fighting audience assumptions about this cosy comedy. Boyd’s As You Like It refuses the notion that a big-budget staging has to look safe or beautiful.
Where other productions gloss the play’s darkness to foreground the comedy, Boyd and his cast address the psychological impact of the characters’ experiences. Katy Stephens’s Rosalind is, above all, a woman who has just lost her father, and her performance has the sharpness of raw grief. Rosalind’s love for Orlando is as painful as it is instantaneous, and in the intimacy of the courtyard, it’s a shock to see her stand on the stage with tears in her eyes after the first wooing scene. Rather than looking the part of a wriggling schoolboy, when Stephens cross-dresses to become Ganymede, she turns into a dashing young man. She is the only Rosalind I’ve seen who convinces in the fainting scene, when Rosalind has to endure news of her beloved Orlando’s tussle with a lion, herself dressed as the male Ganymede (a slightly spivvy aesthete in Barbour and moustache). Usually, Rosalind keels over at the briefest flash of Orlando’s blood-stained handkerchief; here, she is forced to stand with the gory white scarf around her neck until the proximity of the blood becomes excruciating. Both of them are fighters, the extent of the blood indicating just how much Orlando had to bear.
Mariah Gale’s Celia is Rosalind’s junior, a princess full of an enthusiasm that renders her vulnerable. Celia is a problematic role: she tends to disappear into the trees as the Rosalind-Orlando relationship takes over. Her own last-minute love plot with Oliver is conveyed in a couple of sentences. Nevertheless, Boyd fleshes out the role with a bizarre, but enjoyable, dream sequence and a well-cast Oliver. As Oliver, Charles Aitken, a veteran of physical theatre companies such as Headlong and Frantic Assembly, echoes Stephens’s Rosalind by rooting his performance in trauma, which stems from a father’s death.
The most memorable performance comes from Forbes Masson as Jacques, the melancholic courtier who masterminds the utopian project of Duke Ferdinand’s exile. Masson plays a gin-soaked Goth with sneering blacked eyes and a purple velvet blazer, faintly ridiculous with his Cuban heels and ginger hair ruffled to the ends. Masson sings with intensity. His tenor is disarmingly icy, like Rufus Wainwright turned malevolent choirboy. There’s a hint of the jilted lover in his sneering, bitter relationship with Clarence Smith’s Duke Ferdinand, the exile who sets out to find “sermons in stones, books in the running brooks”. Ferdinand raises Jacques’s hopes of a utopia in Arden, but by the end of the play, those hopes are dashed. When Duke Ferdinand’s crown is miraculously restored, the company drops to their knees, while Jacques stays standing. His sense of contempt as Ferdinand takes the crown—the lure of power is just too strong for the exiled duke—is palpable; their sylvan dream is shattered. Jacques skulks offstage alone, leaving the festivities he can no longer enjoy.
The members of Boyd’s new ensemble have, in As You Like It, created an almost flawless conception of a fiercely flawed world. This company will perform together until 2011, opening the New Royal Shakespeare Theatre currently being built. Traditionally, acting contracts are much shorter, forcing actors into hothouse collaborations lasting only for the few weeks of rehearsal. The Long Ensemble, together since January, has time to develop intense relationships with one another and with the roles they will reprise in future seasons. The visceral emotion and fierce intelligence of this production suggests that summers in Stratford will be hot for years to come.