Happy Belated Birthday, Shakespeare

I’d originally planned to write this post on Thursday, but I’ve been a bit poorly this week. Nothing serious, but enough that I’ve found myself spending a lot of time sitting on the sofa, trying and failing to summon the energy to do anything productive. (The other night, I ended up watching a whole episode of Brooklyn Nine Nine – which, I’m sorry, is clearly just Scrubs with cops – because it was too much effort to reach for the remote after The Big Bang Theory, and even tougher to actually get up and go to bed.)

Anyway, apparently nobody’s really sure when Shakespeare’s birthday actually was, so I’m sure he won’t mind that I’m a bit late with this post.

I think what I enjoy most about Shakespeare’s work is its timelessness. I doubt there’s any other writer whose work has been adapted so many times and in so many ways, on stage and screen. His plays deals with so many human themes and emotions – love, jealousy, grief, ambition – that we’ll always be able to relate to them. A bit like Friends.

So even though the language might take a bit of getting used to, and some of the stories may be slightly implausible (no, putting on a wig doesn’t instantly make a girl look like a boy), I do believe there’s something in there that speaks to everyone.

In case there was any doubt, here are the Shakespeare plays I have tickets for over the next eight months: Much Ado About Nothing, Julius Caesar, The Merchant of Venice, The Taming of the Shrew, Two Gentlemen of Verona and The Winter’s Tale (with Dame Judi and Sir Kenneth – squeal!). I’m also still extremely tempted to see Romeo and Juliet too – and not only because Robb Stark’s in it…

So, in celebration of Mr Shakespeare’s birthday, here are ten of his best quotes. There were a lot to choose from, but these are ones that I feel are particularly inspiring; I hope you do, too. And please share your own favourite Shakespeare quotes, as I’m sure I missed plenty of great ones!

“Our doubts are traitors, and make us lose the good we oft might win, by fearing to attempt.” – Measure for Measure, Act I, Scene 4

“The worst is not, So long as we can say, ‘This is the worst.’ ” – King Lear, Act IV, Scene 1 

“The robbed that smiles steals something from the thief.” – Othello, Act I, Scene 3 

“Everyone can master a grief but he that has it.” – Much Ado About Nothing, Act III, Scene 2

“What’s gone and what’s past help should be past grief.” – The Winter’s Tale, Act III, Scene 2

“Better a witty fool than a foolish wit.” Twelfth Night, Act I, Scene 5

“How far that little candle throws its beams! So shines a good deed in a naughty world.” The Merchant of Venice, Act V, Scene 1

“This above all: to thine own self be true.” Hamlet, Act I, Scene 3

“‘Tis not enough to help the feeble up, but to support them after.” Timon of Athens, Act I, Scene 1

“A friend should bear his friend’s infirmities.” – Julius Caesar, Act IV, Scene 3

Rebecca: A Study in Jealousy

It’s always an anxious moment when you go to see a book you love adapted for the stage, no matter how glowing the reviews. I’d heard good things about Knee High Theatre’s production of Rebecca, but there was still a little part of me that was worried about what they were going to do to one of my favourite novels.

As it turns out, I had no reason to worry. I saw Rebecca yesterday at the Marlowe Theatre in Canterbury, and loved it. It’s a unique interpretation of a well-known story, which manages to be hilarious, dramatic and incredibly tense all at once, ending on what feels more like a cliffhanger than a conclusion.

For those not familiar with the story, it’s about a shy young woman, who meets and falls in love with a mysterious gentleman, Maxim de Winter. They marry, and he brings her home to his estate, Manderley. But the house, and its new mistress, are both haunted by the presence of Maxim’s beautiful first wife, Rebecca, who drowned a year earlier, and whose memory is kept alive by the terrifying housekeeper, Mrs Danvers.

Knee High’s production, directed by Emma Rice, has the subtitle, ‘A Study in Jealousy’ (taken from author Daphne Du Maurier’s own description of the novel). Funnily enough, I’d never really thought of the story as being about jealousy, perhaps because it’s a negative emotion and the second Mrs de Winter is such an innocent. And yet it makes perfect sense, because it’s not the house, or Rebecca, or even Mrs Danvers, who pose the ultimate threat to the heroine’s happiness, but her own feelings of inferiority, and her growing obsession with the woman whose shoes she’s trying to fill.

Photo credit: Steve Tanner

Imogen Sage plays the second Mrs de Winter, and captures perfectly the bewilderment of a young woman trying to fit into a brand new world. And yet she has another side to her character, which we first glimpse when she appears in her see-through lacy gown for the fancy dress ball; you feel this is a woman who will do anything to win her husband’s love, even if it means turning into the woman who came before her.

Tristan Sturrock is suitably dashing and suave as Maxim, seemingly unaware of his new wife’s isolation and insecurity, and yet all too ready to burden her with his own secrets and rely on her when the going gets tough. Meanwhile Emily Raymond’s Mrs Danvers is a forbidding figure, although perhaps slightly more sympathetic than in previous portrayals. She still does bad things, but it’s clear from the start that she’s motivated not by malice, but by insane grief.

Amidst all this intense drama, Katy Owen shines as footman Robert, bringing some much-needed light relief (the dancing, in particular, is quite a sight to behold). She also plays orphaned boy Ben, waiting patiently on the beach for his lost father; the two characters couldn’t be more different, and yet she pulls both off to perfection.

One of the things I particularly loved about this production of Rebecca was the music. Provided by the cast – who sing, dance and play instruments – it’s hauntingly beautiful, and a constant reminder of the story’s setting on the wild Cornish coast. From lively dance numbers to mournful sea shanties, it all combines perfectly to bring the tale’s surroundings to life.

Photo credit: Steve Tanner

Rebecca is a one-set production – and yet, what a set it is. It encompasses the sweeping staircase of Manderley, Rebecca’s cottage, her wrecked boat and the beach all at once, but it never gets confusing, although it does mean we lose a lot of the story’s introduction. Rather than opening as the newly-weds meet in Monte Carlo, we begin instead with Maxim’s sister Beatrice (Lizzie Winkler) and her husband Giles (Andy Williams) excitedly anticipating the couple’s arrival at Manderley. But those unfamiliar with the story aren’t left in the dark for long, as the script soon fills in the missing details.

I’ve seen one other stage production of Rebecca, a few years ago, which was a very straight re-telling of the story. Knee High’s version is quite different, but no less brilliant. It’s touring until 16th May and returning to Cornwall in September, and is well worth a visit if you can get your hands on a ticket.

The return of Downton

Ah, Sunday nights. If you’re anything like me, Sunday night is when you suddenly realise you’ve not done half the things you planned to do with your weekend and start to get that sinking feeling associated with waking up early on Monday morning.

But as of yesterday, my Sunday nights have just got a lot better. That’s right, people, Downton Abbey‘s back!

Before I go any further, quick spoiler alert. I’m going to be mentioning some things that happened in series 3 (including the Christmas special) so if you haven’t seen it yet, I recommend you don’t read any further. I also suggest that, before you watch it, you arm yourself with alcohol/chocolate/a comfort blanket/whatever it is that you turn to in times of crisis. You have been warned.

I didn’t even like Downton to begin with. I started watching the first episode and got a bit bored. Of course that was before the lovely Matthew Crawley turned up, so you can’t really blame me. Then my friend started telling me how great it was and eventually, because I’m very easily persuaded, I tuned back in – just in time for the last episode of the first series, also known as ‘The One with Her Ladyship’s Soap’.

When series 2 rolled around, I watched from the start and really enjoyed it, despite being a bit confused by all the references to ‘the big scandal’ and Turkish diplomats. Like most people, I got caught up in the ‘will they, won’t they’ relationship between Mary and Matthew (how very convenient that the heir to the estate happened to be a young, attractive, single man) and squealed with delight like the big girl I am when they finally got together, even if it did mean his poor fiancée getting killed off by the Spanish flu (again, very convenient – except for her, obviously).

And then there was series 3, which was nothing short of traumatic. Julian Fellowes, I’m not sure if I can ever forgive you for killing off not one, but two of my favourite characters. And why exactly do you hate new parents, anyway? Just make sure you stay away from the Dowager Countess; she needs to live forever. And Lord Grantham, who’s so endearingly rubbish at everything, from raising kids to managing finances to employing appropriate staff, that you can’t help but love him. Oh, and Anna and Mr Bates, the cutest couple in the world. And Mrs Hughes and Mr Carson. Mrs Patmore. Daisy.

Ok, so basically I love everyone. I even want Edith to find a nice man – because if she can, then it means there’s hope for us all.

And so, at last series 4 is here. Finally we get to find out exactly how long Mr Fellowes plans to wait before throwing Mary and Tom together to bond in their mutual grief (I’m guessing not long). Meanwhile Edith’s still being pursued by her married editor, Thomas is still evil, Daisy’s still falling for the wrong guy. And Lord Grantham’s still rubbish at everything. But we love him anyway.

So in summary, nothing’s really changed, but I still can’t wait to find out what happens next.

Welcome back, Downton. Sunday nights are good again.