In this 301 episode we examine the Q1 variations of Romeo & Juliet and how some of the most crucial differences between it and the “authoritative” Q2 have MAJOR performance implications for a few of our favorite characters. We also discover that early modern page signatures are not helpful in locating act and scene breaks. (We struggle so you don’t have to. #yourewelcome)
Aubrey’s feelings are back for a second round with her favorite play, All’s Well That Ends Well (and Jess is just along for the ride). We revisit the rhetorical implications of Bertram’s use of hyperbaton (aka “Yoda-speak”), as well as the concept of bed tricks, and talk about some first day of school pointers we wish we had known in our How To Grad School segment. We also closely examine Bertram and his many foibles as, perhaps, the dramatic hinge of the entire play, as well as the dramatic stakes at play in Act 2, scene 5, when Helen literally begs Bertram to kiss her. To kiss or not to kiss? Find out in this episode!
Here are the theaters producing All’s Well in the next year:
There is quite literally nothing we want to talk about more for our Macbeth 301 than the 19th century’s Macbeth Travesty by Rush Moore. This gem of a spoof features terrible rhymes, delicious profanity, and completely inappropriate pairings of Scottish folk tunes with the OG Macbeth’s dark subject matter. It’s so very, very bad it’s good.
Also, here’s the link to the David Sterling Brown article we mentioned in the gossip section.
Our feelings about Tamburlaine “The Great” (ahem you mispronounced “The Worst”) are no secret, but we tell you his entire saga - parts 1 and 2! - in this episode anyway. Jess discusses the dramaturgical problems with an extremely unlikeable protagonist, and Aubrey lists the nearly innumerable moments of on-stage violence facing a production team crazy enough to put on this play. We gossip about a few productions you may have missed over the summer, among other things, and have some laughs along the way. Enjoy!
In this episode, we compare and discuss the good, the uncomfortable, and the absolutely terrible production choices perpetrated in a couple of different productions of Measure for Measure we witnessed over the summer. We also revisit the rhetorical device of acyrologia (aka malapropisms) used to charming effect with our buddy, Elbow. And, in a new installment of “How To Grad School” we share some thoughts on what first-gen grad-schoolers need to know in order to catch up with their second- or third-gen peers. If you or someone you know is in an upcoming production of Measure, let us know!