Folger Shakespeare Library: Shakespeare Unlimited

In a novel just released in the US, author and longtime BBC radio host Simon Mayo tells an amazing—but true—story: that England’s first all-black production of Romeo and Juliet was staged by Black American prisoners of war in a British prison called Dartmoor, during the War of 1812. Like its setting, the novel, Mad Blood Stirring, is bleak. But it also contains flashes of friendship and creativity that emerge from the Shakespeare plays staged under the order of a larger-than-life—but also real—character: African-American POW “King Dick,” who ran the prison’s segregated block. We invited Simon Mayo to join us on Shakespeare Unlimited to tell us about the history behind his novel and its characters. Simon Mayo currently co-hosts the popular Film Review show on BBC Radio 5 Live. The American edition of Mad Blood Stirring was published by Pegasus Books in 2019. Mayo is interviewed by Barbara Bogaev. From the Shakespeare Unlimited podcast series. Published February 19, 2019. © Folger Shakespeare Library. All right

Actor Edwin Booth was one of the 19th century’s biggest stars. One of the illegitimate sons of equally-famous actor Junius Brutus Booth, he made thousands of dollars touring America’s grandest theaters and playing Shakespeare’s greatest roles. But today, relatively few people have heard of Edwin Booth. Instead, they remember his brother—also an actor—John Wilkes Booth. That’s because on April 14, 1865, John Wilkes assassinated President Abraham Lincoln. The Booths’ story is like one of Shakespeare’s tragedies, with an unstable father, a rivalry between brothers, and an ending that changes the course of history. To learn more about the Booth brothers and their tumultuous lives, we talked to Nora Titone, resident dramaturg at Chicago’s Court Theatre and author of 2010’s My Thoughts Be Bloody: The Bitter Rivalry Between Edwin and John Wilkes Booth That Led to an American Tragedy. Nora Titone is interviewed by Barbara Bogaev. From our Shakespeare Unlimited podcast series. Published February 5, 2019. © Folger Shak

Olivia Hussey was just fifteen when she was cast in Franco Zeffirelli’s "Romeo and Juliet." When the film was released in October 1968, it catapulted Hussey and her Romeo, Leonard Whiting, to global stardom. Fifty years after the movie’s release, Hussey’s new memoir, "The Girl on the Balcony: Olivia Hussey Finds Life After 'Romeo and Juliet,'" tells the story of the actress’s life before, during, and after Romeo and Juliet. We talked with Hussey and asked her how she felt about Shakespeare before making the movie (“very boring”), filming the balcony scene (“I’d bump my teeth into his chin”), the endless press tour, and whether she’d do it all again. Olivia Hussey is interviewed by Barbara Bogaev. From our Shakespeare Unlimited podcast series. Published January 22, 2019. © Folger Shakespeare Library. All rights reserved. This podcast episode, “Speak Again, Bright Angel” was produced by Richard Paul. Garland Scott is the Associate Producer.  It was edited by Gail Kern Paster.  Ben Lauer is the web p

In 1956, Duke Ellington gave a series of concerts at Ontario, Canada’s Stratford Festival. Afterward, festival staff asked the legendary composer—at that point, one of jazz’s elder statesmen—if he’d consider writing a piece about Shakespeare. A year later, Duke Ellington premiered and recorded Such Sweet Thunder, a suite of twelve tunes inspired by the Bard and his characters. We talked with University of New Hampshire Professor of English Douglas Lanier about the suite, the second chapter of Ellington’s career, and how they reflect shifting cultural perceptions of jazz. Lanier, who is also a musician, has written widely about Shakespeare and modern popular culture (in fact, that’s the name of his 2002 book: Shakespeare and Modern Popular Culture), and is an expert on pop adaptations of Shakespeare’s works. He wrote about Ellington’s Such Sweet Thunder for our 2007 exhibition, Shakespeare in American Life. Lanier is interviewed by Barbara Bogaev.   From the Shakespeare Unlimited podcast series. Published

Imagine getting the chance to interview Jude Law, Maxine Peake, Adrian Lester, David Tennant, Simon Russell Beale, and Nicholas Hytner about Shakespeare’s Hamlet. What would you ask? Would you want to hear about backstage hijinks? About Hamlet’s motivations? About what they would change about their performances?   Biographer and theatre historian Jonathan Croall interviewed those Shakespeareans and more for his new book, Performing Hamlet: Actors in the Modern Age. In it, Croall looks at 43 of the highest-profile Hamlet productions in England over the last 50 years, exploring how Laurence Olivier, Alec Guinness, Michael Redgrave, Jonathan Slinger, Richard Burton, and many others have portrayed one of Shakespeare’s most memorable and mercurial characters. Croall came into the studio recently to tell us what he’s learned. He is interviewed by Barbara Bogaev. From the Shakespeare Unlimited podcast series. Published December 11, 2018. © Folger Shakespeare Library. All rights reserved. This podcast episode, “

Do you remember what sparked your interest in Shakespeare? Was it a great performance, a magic moment in a high school English class, or a clever adaptation? When did you realize you were hooked? Across today’s pop culture landscape, there are more ways than ever to introduce young people to Shakespeare. Pop culture representations of Shakespeare’s plays aren’t just fun: they can help kids—and adults—to take ownership of Shakespeare’s language, critically examine his plots, and connect to his themes. And from West Side Story to The Simpsons, there’s no shortage of options. So we called up our friend Stefanie Jochman to give us a run-down on some of her favorite bits of pop Shakespeare. As a high school English teacher, Jochman is about as close as you can get to young people on the cusp of Bardolatry. We asked her how she takes advantage of pop culture in her classroom to deepen students’ understanding and appreciation of the Bard. Stefanie Jochman is a high school English teacher in Richmond, Virginia, and a

Should college students be required to study Shakespeare? As American universities examine the role of the liberal arts and humanities in our society, what will—and what should—happen to the Bard’s place in English curricula? The Shakespeare Requirement, novelist (and creative writing professor) Julie Schumacher’s new academic satire, asks just that. Jason Fitger, hero of Julie Schumacher’s 2014 novel Dear Committee Members, returns in her new book. The tactless and ineffective Fitger is now chair of the fictional Payne University’s English department, and he’s been tasked with marshaling the department’s faculty to approve a new Statement of Vision. One obstacle is Dennis Cassovan, the department’s elderly Shakespeare scholar, who insists that the Statement include a required semester of Shakespeare. Hanging in the balance? The English department’s annual budget and its home in Willard Hall’s crumbling basement. Julie Schumacher is a professor of English and Creative Writing at the University of Minnesota. H

What is a knave? How about a varlet? Did people in Shakespeare’s time really throw the contents of their chamber pots out of their windows? And was that, like. . . encouraged? If you’ve ever wondered about the naughty bits of early modern history and culture, Ruth Goodman’s book is for you. How to Behave Badly in Elizabethan England: A Guide for Knaves, Fools, Harlots, Cuckolds, Drunkards, Liars, Thieves, and Braggarts covers all the things we don’t talk about in polite company, including dirty words, bad manners, criminal conduct, and sex. We talked with Goodman about what bad behavior can tell us about Shakespeare’s world and about our society today. Ruth Goodman is an author, historian of British social and domestic life, host of a BBC TV series, and an advisor to the Royal Shakespeare Company. She is interviewed by Barbara Bogaev. From the Shakespeare Unlimited podcast series. Published October 30, 2018. © Folger Shakespeare Library. All rights reserved. This podcast episode, “My Speech Of Insultment End

For three years, Shakespeare Uncovered has provided a crash course in Shakespeare’s best-known plays, presented in hour-long documentary form and guided by film and theater stars like Morgan Freeman, Kim Cattrall, Ethan Hawke, and Helen Hunt. On the third (and likely final) season of Shakespeare Uncovered, which premiered on PBS on October 12, Brian Cox and Romola Garai make timely investigations of Julius Caesar and Measure for Measure, Helen Hunt looks at the rom-com legacy of Much Ado About Nothing, and Sir Antony Sher probes Richard III's dangerous charms. The people behind the series are TV producers Richard Denton and Nicola Stockley. As the series was gearing up for its third season, the two of them came by the studio to talk about how they create these in-depth episodes and some moments from the series have really knocked their socks off. Richard and Nicola were interviewed by Barbara Bogaev. From our Shakespeare Unlimited podcast series. Published October 16, 2018. © Folger Shakespeare Library. Al

Director Peter Sellars once staged "Antony and Cleopatra" in a Harvard dormitory swimming pool. His King Lear owned a Lincoln Continental. His work is complex. But what confounds some audience members has also won him ardent fans. One of them is Ayanna Thompson, a scholar of Shakespeare and performance studies who is now director of the Arizona Center for Medieval & Renaissance Studies at Arizona State University. Thompson’s new book, the latest in Bloomsbury’s "Shakespeare in the Theatre" series, explores Sellars’s influences and tracks the predominant theme of his work: a laser-like focus on race in America. We talked with Thompson and Sellars himself about what can be gained from striving to understand the impenetrable. Thompson and Sellars are interviewed by Barbara Bogaev. From the "Shakespeare Unlimited" podcast series. Published October 2, 2018. ©Folger Shakespeare Library. All rights reserved. This podcast episode, “I Understand Thee Well,” was produced by Richard Paul. Garland Scott is the associa

The family. The cottage. The age difference. The pregnancy. The children. The second best bed. The grave. We know so little about Anne Hathaway, but it hasn’t stopped us from speculating about her life for the past 300 years. In this episode, we talk to Katherine Scheil, a professor of English at the University of Minnesota, about the many, many versions of Anne Hathaway. In her new book, Imagining Shakespeare's Wife: The Afterlife of Anne Hathaway, Scheil looks at how historians, biographers, and novelists have repeatedly reinterpreted and reshaped Hathaway’s image over the centuries, and why. Scheil is interviewed by Barbara Bogaev. From the Shakespeare Unlimited podcast series. Published September 18, 2018. © Folger Shakespeare Library. All rights reserved. This podcast episode, “Thy Dear Self's Better Part" was produced by Richard Paul. Garland Scott is the associate producer. It was edited by Gail Kern Paster and Esther Ferington. Ben Lauer is the web producer.

Since the 1990s, playwright and actor Steven Berkoff has been traveling the world performing a one-actor show called "Shakespeare’s Villains." It’s fitting, coming from the actor perhaps best known for playing Beverly Hills Cop’s Victor Maitland, that Berkoff promotes the show’s examination of Iago, Shylock, Richard III, the Macbeths, and others as “A Master Class in Evil.” Now, Berkoff has made a film of his performance. With additional material from "Henry V," it’s called "Shakespeare’s Heroes and Villains." We invited Steven Berkoff in to give us his thoughts on what Shakespeare’s villains have in common and why they hold such an enduring appeal. Berkoff is interviewed by Barbara Bogaev. From the "Shakespeare Unlimited" podcast series. Published September 4, 2018. © Folger Shakespeare Library. All rights reserved. This podcast episode, “I Am Alone the Villain of the Earth,” was produced by Richard Paul. Garland Scott is the associate producer. It was edited by Gail Kern Paster and Esther Ferington. Ben

Here’s the assignment. Fourteen lines in iambic pentameter, with an a-b-a-b, c-d-c-d, e-f-e-f, g-g rhyme scheme. Now: add Taylor Swift. It’s astounding and gratifying that Shakespeare—a 450-year-old playwright—continues to pop up in popular culture. Our guest on this podcast episode is Erik Didriksen, who takes hit songs from artists like Taylor Swift and Eminem and rewrites them as Shakespearean sonnets. The Tumblr where Didriksen posted his sonnets became so popular that in 2015, he published a book, Pop Sonnets: Shakespearean Spins on Your Favorite Songs. He was interviewed by Barbara Bogaev (This episode was originally broadcast February 10, 2016). From our Shakespeare Unlimited podcast series. ©Folger Shakespeare Library. All rights reserved. This episode, called "Press Among the Popular Throngs," was produced by Richard Paul. Garland Scott is the associate producer. It was edited by Gail Kern Paster and Esther Ferington. Ben Lauer is web producer. With help from Bob Auld and Deb Stathopulos at the Rad

Joe Papp was responsible for some of modern American theater's most iconic institutions: New York City's free Shakespeare in the Park. The Public Theater. The whole idea of "Off-Broadway." We spoke with Los Angeles Times film critic Kenneth Turan about Papp's life and work, from his hardscrabble childhood, through the frightening era of Joe McCarthy, to the founding of Shakespeare in the Park and the Public. Ken's epic oral history of the early years of the New York Shakespeare Festival and the Public Theater, "Free for All: Joe Papp, the Public, and the Greatest Theater Story Ever Told," published in 2009. He spent untold hours with Papp and also talked with New York politicians, Broadway producers, and seeming everyone else who helped Papp make Shakespeare in the Park a reality, including actors James Earl Jones, George C. Scott, Meryl Streep, Kevin Kline, Colleen Dewhurst, Tommy Lee Jones, and a Staten Island car-wash employee who would go on to play Romeo under the name of Martin Sheen. Ken is interview

In 2011, Ben Steinfeld and Noah Brody, co-directors of New York’s Fiasco Theater, were invited to an assisted living facility and nursing home just outside New York City to work with its residents on a production of "A Midsummer Night’s Dream." Because it was The Lillian Booth Actors Home—a facility filled with retired singers, actors, dancers and musicians—Ben and Noah expected to work with a group of seasoned Broadway professionals. While there were some, the cast they finally assembled was largely anything but. Ben and Noah were invited on this adventure by filmmakers Jilann Spitzmiller and Hank Rogerson, who turned the process into a documentary called Still Dreaming. We talk about the experience with Ben Steinfeld and Hank Rogerson. Hank Rogerson is a filmmaker who, with Jilann Spitzmiller, produced Still Dreaming. Ben Steinfeld is co-artistic director of Fiasco Theater. He co-directed, with Noah Brody, the Lillian Booth Actors Home’s production of "A Midsummer Night’s Dream." Hank and Ben are interview

What did everyday life look like for women throughout Tudor society? A new social history, "The Hidden Lives of Tudor Women by Elizabeth Norton," introduces us not only to the restrictions, but also to some of the surprising freedoms that touched these women’s lives. Hear the stories of remarkable women who owned businesses, stood up to kings, and lived independently. Elizabeth Norton is interviewed by Barbara Bogaev. From the Shakespeare Unlimited podcast series. Published July 10, 2018. © Folger Shakespeare Library. All rights reserved. This podcast episode, Talkest Thou Nothing but of Ladies?, was produced by Richard Paul. Garland Scott is the associate producer.

“How is it possible for a whole country to fall into the hands of a tyrant? That’s a deeply unsettling question that Shakespeare grappled with again and again.” Stephen Greenblatt’s new book, "Tyrant," explores tyranny in Shakespeare’s plays. In the 100th episode of Shakespeare Unlimited, we talk with the eminent Shakespeare scholar about characters like Richard III and Macbeth; how societies allow tyranny to pop up; and how and why Shakespeare used its depiction in his work to stir the audiences of his time. Stephen Greenblatt is the John Cogan University Professor of the Humanities at Harvard University. "Tyrant" was published in 2018 by W. W. Norton & Company. Greenblatt is interviewed by Barbara Bogaev. From the Shakespeare Unlimited podcast series. Published June 26, 2018. © Folger Shakespeare Library. All rights reserved. This podcast episode, "He Affects Tyrannical Power" was produced by Richard Paul. Garland Scott is the associate producer.

Over the course of three summers in the 1950s, Arthur Lithgow, Meredith Dallas, and a troupe of actors they’d gathered performed every single one of Shakespeare plays, in rep, at the Antioch Shakespeare Festival, also known as Shakespeare Under the Stars, at Antioch College in Yellow Springs, Ohio. This podcast episode brings together the children of the festival’s founders to talk about their fathers’ work and its legacy: Tony Dallas, Robin Lithgow, and the Emmy, Grammy, and Tony Award-winning actor John Lithgow. John, Robin, and Tony are interviewed by Barbara Bogaev. From the Shakespeare Unlimited podcast series. Published June 12, 2018. © Folger Shakespeare Library. All rights reserved. This podcast episode, "I Live to Speak My Father’s Words," was produced by Richard Paul. Garland Scott is the associate producer.

In 2012 the Royal Shakespeare Company staged the first-ever, high-profile, all-black British Shakespeare production, "Julius Caesar," set in Africa. The actor who played Brutus, Paterson Joseph, recently wrote a book about the experience called "Julius Caesar and Me: Exploring Shakespeare’s African Play." Paterson Joseph is interviewed by Barbara Bogaev. From the Shakespeare Unlimited podcast series. Published May 29, 2018. © Folger Shakespeare Library. All rights reserved. This podcast episode, "Bear It, As Our Roman Actors Do," was produced by Richard Paul. Garland Scott is the associate producer.

London in the time of William Shakespeare was a city in the midst of a phenomenal metamorphosis. During the course of Shakespeare’s professional life, the city experienced a meteoric transition, rocketing from the capital of the hinterlands to a cosmopolitan city on its way to becoming the capital of the western world. Stephen Alford, a professor of early modern British history at the University of Leeds and the author London's Triumph: Merchants, Adventurers, and Money in Shakespeare’s City, is interviewed by Barbara Bogaev. From the Shakespeare Unlimited podcast series. Published May 15, 2018. © Folger Shakespeare Library. All rights reserved. This podcast episode, Wander Up and Down to View the City, was produced by Richard Paul. Garland Scott is the associate producer.