The Blog

Like most of us each year, students at Shakespeare For Our Children set out their New Year’s resolutions, itemizing what they wish to do better or differently: Learning lines more quickly; getting over stage fright; or playing a type of part they have never attempted before.

But often, our young actors focus so much on listing practical plans that they forget the spark that animates such intentions: Inspiration. Why do these specific goals matter so much? What is the bigger purpose they serve?

The Oxford English Dictionary defines inspiration as “A breathing in or infusion of some idea, purpose, etc. into the mind; the suggestion, awakening, or creation of some feeling or impulse.” And at this time of year, such ideas and purposes are oriented towards becoming the person we believe we have the potential to be. Or, to borrow from Ophelia’s poignant statement to Hamlet (Act IV, Scene 5): “We know what we are, but know not what we may be.” 

This is why it is so important to remind young actors that setting admirable goals is not simply a checklist or annual routine but a means of becoming the individual that they wish to be ― that they may be. Learning lines quickly is important not only because of personal discipline (carrying out a responsibility) and “team spirit” (belonging fully to a “Community of Performers”), but also because feeling confident in knowing our dialogue frees us up to truly embrace the character and what our performance could be. And trying out a different kind of role is not just about testing talent but also about expanding the scope of one’s experience. 

Emphasizing the inspiration behind the resolution can help children put the latter in perspective. We all know that things do not always go according to plan, and that what seems important in January may not be a priority in July. But remembering what awoke those resolutions in the first place will ensure that the person we wish to become is never too far away.

©2023

Ghosts and the supernatural are a central part of Shakespeare’s world. In previous posts, we have explored the ghost of Hamlet’s father — whose revelation about his murder begins the action of the play — and the Three Witches in Macbeth, who foretell the fate of the future king. As this fascinating resource from the British Library discusses, there are many, many more spooky encounters across all of Shakespeare’s plays! 

Prompted by Halloween — our favorite season here at Shakespeare For Our Children — we started to think more about Shakespeare’s ghosts … and how best to bring them (back) to life on the stage. 

The first strategy that comes to mind, of course, is costuming and make-up. You can take the classic approach: dressing in black, grey, or white; powdering the hair and face to create a chalky, mask-like texture. Or you could go a less traditional route, dressing the young actor in the same kind of garb that other cast are wearing. This can evoke an even eerier sense that the supernatural figures are walking among the characters in their “real,” everyday lives — which, in Shakespeare’s landscape, they sometimes are.

Another way to signal an otherworldly presence is through musical cues. Maybe an eerie melody introduces Hamlet’s father whenever he appears; perhaps a skirl of the bagpipes heralds the Three Witches. And depending on available equipment, you can also design lighting effects to literally highlight and isolate the character — they can step out of the shadows and into a spotlight, for example.

But even leaving aside all these ghostly trappings, the most important thing is the performance itself. Ask your children how they hear or see these characters in their minds, and then think about ways to fully realize that vision. Would it be through a certain tone of voice? Or perhaps a distinct type of body language they can adopt?

As ever with Theatre, you and the young actors can have fun imagining all the possibilities!

©2022

In Shakespeare’s lifetime, several of his plays — including Love’s Labor’s Lost and The Merry Wives of Windsor — were performed for Queen Elizabeth I at her Court. (Read more about her here.) For all of the historical fascination that this royal patronage holds, we wish to focus here on Shakespeare’s connection to another noble figure: Queen Elizabeth II.

How to pay tribute to a truly majestic and beloved monarch?

For King Charles III, the only answer was to turn to Shakespeare. In his address to Parliament, Charles borrowed from Henry VIII to describe her as “a pattern to all princes living.” And in a public address, he closed with the loveliest blessing of all from Hamlet: “May flights of angels sing thee to thy rest.” 

In recent days, the Shakespeare Birthplace Trust in Stratford-upon-Avon has published a compelling overview of Queen Elizabeth II’s decades-long relationship with Shakespeare’s legacy. He represented, simply, a golden thread across her lifetime: From her youth as a Princess reading Shakespeare’s works to her reign as Queen, she often visited Stratford. 

Shakespeare knew that “all the world’s a stage” — and how beautifully did Queen Elizabeth II ever grace it for so many important years.

©2022

Every so often, we like to highlight specific books that have made a big impression on our students and teachers. Whether Marchette Chute’s classic history Shakespeare of London, Stanley & Venema’s biography of Shakespeare (perfect for young readers), or Bruce Coville’s elegant retellings of various plays, each of these works brings a different facet of Shakespeare’s world to the printed page. 

So too does Mary Pope Osbourne’s Stage Fright on a Summer Night, one of the stories in her beloved Magic Treehouse series. In this adventure, young protagonists Jack and Annie take a trip back to Elizabethan England and meet a friendly man named Will. He just happens to be putting on a play that he wrote – A Midsummer Night’s Dream! Featuring historical facts and personal triumphs for Jack and Annie, this tale draws children into the vibrant landscape of Shakespeare’s London.  

Even more importantly, it also reminds readers of all ages never to take for granted the way theatre awakens the imagination. Indeed, the heart of the story is Jack and Annie’s realisation that “without wand, spell, or charm,” Shakespeare can transport his audience to another time and place; the magic they seek is, in fact, his ability to “turn daytime into night” through his very words. This is a gift that you can hear in real time through the above recording of a monologue from Merchant of Venice – demonstrating once again the power of Shakespeare’s art.

©2022

By definition, the Fourth of July holiday evokes reflections on patriotism. And though this is admittedly the date that we celebrate America’s independence from colonial rule, we at Shakespeare For Our Children could not help but think of Shakespeare’s expressions of love for his own country. 

In a famous speech from Richard II, one of Shakespeare’s history plays, the character John of Gaunt describes England as:

“This royal throne of kings, this scepter’d isle | […] This precious stone set in the silver sea | […] This land of such dear souls, this dear dear land.” (Listen above!)

In the context of the play (Act 2, Scene 1), John is on his deathbed and pondering the fate of his beloved country; taken independently, however, the monologue magnificently articulates one patriot’s devotion to their native land. As Marchette Chute writes in her classic work An Introduction to Shakespeare, “Shakespeare loved England, and this is one of the reasons why England has always so deeply loved Shakespeare.”

It may seem a bit unexpected to examine this moving speech about England at a time when we commemorate our independence from that country! But Shakespeare’s words nonetheless invite each of us to consider the beauty and complexity of our own national identity.

— Janice Salzberg ©2022

Every parent and teacher knows how children will be drawn to particular fictional characters. Each narrative world holds a series of figures with whom young people can identify; part of the magic of theatre is that it allows children to embody those characters for a period of time — to literally make believe that they are someone else. But what happens when students turn down a part, resisting a role that could be an exciting fit for them?

For example, we have worked with students who have the maturity to play roles like Hamlet or Juliet, but shy away from the opportunity because the parts are “too serious.” 

Remember, never force a child to play a part with which they are uncomfortable, or which asks them to engage with emotions for which they are not quite ready. But broadly speaking, we have found that diplomatic detective work is very effective. Find out why a student is rejecting the part — is it the number of lines? Is it a specific action that they will have act out? Or is it a fundamental divide between how they see the character and how they see themselves?

A perfect case in point was when we had a young man who was hesitant to perform the opening monologue from Richard III (listen above). At first, he protested that he did not want to play “a bad guy”; up that point, he had only played sympathetic roles like Romeo and Puck. But when we spoke to him in more detail, we were able to explain the complexity of Richard’s position. We talked about his frustrations as the youngest and least handsome of the glamorous York brothers; we invited the child to reflect on moments when he, too, might have felt upset or left out. From there, he recognized a shared experience with the character — and that was enough for him to approach the part with confidence and sensitivity.

Again, the aim here is not to cajole anyone into playing specific parts! But rather, approach such moments as opportunities to encourage young actors to think critically about the material and the way they relate to roles more broadly.

To paraphrase the classic saying: They do not need to find themselves in the character, but they may be able to find some of that character in themselves.

©2022 

The early weeks of Spring are often the most precious. The start of the season (and the end of winter!) brings a renewed sense of possibility — we do not know what lovely happenings are in store, but we can imagine them taking place in the dappled sunlight and with blossoms on the trees.

It is also a time of restoration and — indeed — spring cleaning, not only of our physical surroundings but of our very spirits. For adults, this can mean taking stock of how far we have come since the start of the year; but for children of all ages, it can be an opportunity to let go of old patterns and see what emerges in their place.

In the coming weeks, ask your young actors to take a chance on themselves: are there feelings of self-doubt that they could “clean out” and replace with a sense of accomplishment? Are there old disappointments — perhaps about a part they did not get, or a line they forgot in performance — that could be reborn as optimism for the future?

We all know that gardens do not grow overnight; Nature moves at its own pace. But this Spring, encourage your students to claim this as a season of hope. Or as Shakespeare wrote in A Midsummer Night’s Dream (Act V, Scene 1): Wish them “Joy, gentle friends! Joy and fresh days of love accompany your hearts.”

©2022

In that after-Christmas lull, attention soon turns to the most romantic of holidays: Valentine’s Day. We find ourselves in a rose-tinted world defined by a range of choices — which chocolates or flowers to buy? What card to get a loved one? And perhaps most important of all: Who will be our Valentine?

There was, however, little debate over what play to consider in this post. 

Romeo and Juliet explores romance in its most exquisite and tragic moments — a transcendent love. Amongst all of the impactful passages, one especially stands out: Juliet’s monologue in Act III, Scene 2, in which she anticipates seeing Romeo in the evening ahead. (Listen above.) For Juliet, theirs is a love that goes beyond the boundaries of mortality; even when pondering Romeo’s death, Juliet imagines that he will be “cut […] out in little stars / And he will make the face of heaven so fine / that all the world will be in love with night / And pay no worship to the garish sun.” 

Knowing the fate that awaits the young lovers, these lines are especially poignant. But what makes the imagery striking in its own right is the sense that Juliet sees Romeo himself as a gift. So precious is he, so enchanting, that Juliet wants to share his spirit with the world. Deeply personal and yet totally unselfish, the experience of this kind of love is the true gift that goes beyond the Valentine’s Day flowers and chocolates that we share! Shakespeare’s lines capture the essence of something deeper that we all aspire to — and even if we may not have it this year, there is always the hope that that gift is in our future.

©2022

Several years ago, we celebrated the Festive Season with a reflection on the magic of Shakespeare’s Twelfth Night, a work which remains a joy for its tale and all its comedy — and a treasure trove of thought-provoking passages. 

One that stands out now comes from a song performed in Act 2, Scene 3 by Feste the Jester: “Present mirth hath present laughter / What’s to come is still unsure.” (Listen above.) In context, the words emerge from a love song meant to entertain Duke Orsino’s household staff (read more about the Duke here).

But more broadly, the couplet captures the importance of fully living in the moment. At this time of year, when we focus so strongly on New Year’s resolutions and what we will do differently, it is easy to lose sight of the present. No question, a forward-looking perspective is necessary — but balanced with mindfulness, an awareness of the very moment in which we find ourselves. After all, as Shakespeare tells us, “What’s to come” is ultimately unknown.

This concept brings to mind the words of another more contemporary poet. In his song “Flying Hour,” George Harrison reminded his listener of the need to be here now: “Past is gone, thou canst not that recall / Future is not, may not be at all / Present is, improve the flying hour / Present only is within thy power.” (Listen to “Flying Hour” here.)

And like Shakespeare and Harrison themselves, the present is truly a gift to us all.

©2022

Here at Shakespeare For Our Children, Halloween is one of our favorite times of year: a season of celebrating Shakespeare’s ghost stories, and reflections on the darker side of experience, amongst various “tales of sound and fury.” 

And let us not forget how Halloween allows for us all to become performers for an evening, stepping into a costume and acting out the art of trick-or-treating!

For all of the magic of Halloween, we should remember how theatres themselves can bring together performances and spooky thrills every day of the year. Ghost hunters and aficionados have long identified theatres as some of the most haunted of all spaces. Just think of the countless actors, crews, and audience members who have occupied a given theatre across the years, with all of the emotional intensity and backstage dramas that accompany a production. Theatres are, in effect, supernatural playgrounds — as suggested by a series of stories ranging from Broadway spectres to Scottish phantoms. And we cannot forget London’s Theatre Royal Drury Lane (pictured above), widely believed to be the world’s most haunted theatre.

Not everyone believes in ghosts, of course; for some, plays present just enough of a world of make-believe! But at this time of year, it is always worth remembering Hamlet’s words to his skeptical friend: “There are more things in heaven and earth, Horatio, than are dreamt of in your philosophy” (Act 1, scene 5).

©2021