Sappho and Phao was the last Read Not Dead production in the ‘Before Shakespeare’ series at the Globe. It’s a comedy by John Lyly, dating from around 1584, and features the goddess Venus who endows a young ferryman with great beauty, is cross when he and the queen of Sicily, Sappho, fall in love with one another, and plots to ruin their attachment. It’s an amusing tale, cleverly staged by the team at the Globe who perform it with flair and a light touch. A fitting finale to the short season.
Mucedorus is the third in the Globe’s miniseries of Read Not Dead readings, ‘Before Shakespeare’. It’s one of the most commonly reprinted early modern plays, dating from around 1590. It has been attributed on occasion to Shakespeare, although it is now generally accepted that it is not by him.
The play tells of Mucedorus, Prince of Valencia, who disguises himself as a shepherd in order to sneak unseen into neighbouring Aragon to see the princess Amandine. Romantic, comic and tragic scenes ensue until the conflict is resolved. I thought this was one of the funniest early modern plays I’ve seen, and I was especially amused by the bear scenes!
Fedele and Fortunio is the second in the Globe’s miniseries of Read Not Dead readings, ‘Before Shakespeare’. It is believed to be the fourth surviving play from the London playhouses, and the fifth to be printed, in 1584. Written by Anthony Munday, it’s the first play to resemble a recognisable Shakespearean-style comedy, with complex plots, cross-dressing and mistaken identity.
This was one of the funniest plays I’ve seen as part of the Read Not Dead series. It was highly amusing and very well acted by all involved.
I went to see a Read Not Dead performance at the Sam Wanamaker Playhouse with a difference – a prose reading of Thomas Nashe’s The Terrors of the Night (1594). Marking the author’s 450th anniversary, the Thomas Nashe Project is a five-year research programme funded by the AHRC, and this performance was related to that project. The text was edited by Dr Kate De Rycker, directed by Jason Morell, and performed by Peter Hamilton Dyer and Caroline Faber. It was accompanied by music performed by Ansuman Biswas.
The Terrors of the Night is a meditation on the meaning of dreams. Are dreams the work of supernatural forces, or are they influenced by the individual’s fears? It’s a fascinating exploration of the conflict between superstition and scepticism, and it was powerfully performed by the two actors in an atmospheric setting.
Rare Triumphs of Love and Fortune is the first in a miniseries of four plays performed in the Sam Wanamaker Playhouse as part of Read Not Dead, known as ‘Before Shakespeare’. It is a very rare and interesting play: first performed by the Earl of Derby’s Men at court in 1582, it is one of only two plays that survive from the first fifteen years of commercial theatre.
The play itself sees the goddesses Venus and Fortune in a debate over who has the most agency in human affairs. They get involved in a complex situation but eventually everything is sorted out. Like all Read Not Dead performances, it was hugely enjoyable, performed well by a dedicated cast.
Every year Shakespeare’s Globe puts on a programme of play readings, known as Read Not Dead; thankfully, the new regime hasn’t put paid to them and they are still an important part of the schedule. I normally try to get to one or two a year, and on Sunday I went along to The Coxcomb, an early work by Francis Beaumont and John Fletcher. The play is based on an episode on Cervantes’ Don Quixote. Since 2016 also marks the 400th anniversary of the death of the Spanish author, it’s no wonder it was chosen for performance this year.
The plot of The Coxcomb is convoluted, concerning a man who falls in love with his friend’s wife and is surprised to find that his friend appears quite happy to let him indulge his lust. There is also a subplot involving a runaway couple. It’s not always easy to follow, but it leads to several amusing moments.
The plays are always given out to the actors on the morning of the day they are due to take place; they then spend the day rehearsing them before presenting them to the audience in the afternoon. Apart from the scripts in hand and the odd missed cue, you’d hardly notice, a testament to the skill and commitment of the actors involved. The Coxcomb was no different, with actors giving rounded performances. It was an interesting piece, and well worth the watch.
I chose to attend the Read Not Dead performance of A Pleasant Conceited Historie, Called The Taming of a Shrew out of curiosity more than anything. It’s an alternative version of the more famous The Taming of the Shrew, but the exact relationship between the two plays is shrouded in mystery. Shakespeare may have written A Shrew, or he may not; The Shrew may be the later play, or it may be the earlier. Either way, it’s certain that both plays have near-identical plots and other considerable similarities. One thing I found particularly interesting is that the framing plot device involving Sly was invoked at both the beginning and end of the play; I did prefer this to The Shrew, in which the plot device is used at the beginning but forgotten at the end. However, the subplot here, in which Kate’s two sisters (unlike the one sister she has in The Shrew) seek to marry, is more concerned with class and comedy than with deception. It was fascinating to see this version on stage: Shrew is a problematic play anyway, but I found this experience illuminating.