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Playing Holidays
In this little season, the Alabama Shakespeare Project invites you to join in an experience two plays, Twelfth Night and Cynthia’s Revels, that may have been curated together for the long-reigning woman monarch at the beginning of seventeenth century. Do you get a sense of similar characters? Shared jokes? Do they seem to have a common political message or stance? How do these two plays treat monarchs within their worlds? What outcomes derive from moments of chaos? Whom do they serve? We invite you to join us and find out what happens when the storm in the snow globe settles.
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Much Ado about a Prefix
Those familiar with Much Ado About Nothing and its many film versions can picture the way their love story finishes: Hero and Claudio have been reunited, and Beatrice and Benedick resort to their old habits, denying their love for each other and bickering. In the end, however, Benedick exclaims, “Peace! I will stop your mouth” (5.4.85), and they finally kiss. Or do they?
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![“Look’d upon her with a [dramaturg’s] eye”: Artistic Agency, Characterization, and Plot](https://alabamashax.ua.edu/wp-content/uploads/2023/06/2021-09-28-parts-1568x1045_orig.jpeg)
“Look’d upon her with a [dramaturg’s] eye”: Artistic Agency, Characterization, and Plot
What might the early modern actor’s part look like for William Shakespeare’s Much Ado About Nothing? What might cutting together these scripts, sometimes referred to as “role” or “cue,” illuminate about characters, plot, and the text as a whole? As dramaturgs, what should be considered when cutting for live performance? Two of our team members, Candace Lilford, the dramaturg for this production, and Riley S. Stewart, the season research assistant, spent the last two weeks cutting together parts for performance, and had very similar observations about this process.