Imprimis: Link and Tidbits, 28 January 2011

Our links this week focus in large part on how the humanities should be handled: what emphasis to put on them, what skills they provide, and how we can use technology to teach them.

At the OCS, we have another Actor-Scholar Council today, this time on The Malcontent. Paul Menzer, head of the MBC MLitt/MFA program, will be moderating, and our attending actors today are Ben Curns (Malevole), Patrick Midgley (Ferneze and Guerrino), Alli Glenzer (Maquerelle), Miriam Donald (Bianca and Maria), and John Harrell (Mendoza). There’s still some time to ask us a question on Facebook if you’d like to hear it in the podcast.

Imprimis: Links and Tidbits, 20 January 2011

This week in Shakespeare: the Stratfordian defense, using technology to open up new avenues for learning, and promoting literature in education.

  • Bardfilm is on a mission, and we’d like to support it. In an attempt to show why anti-Stratfordians are, tragically, misinformed, the blog takes on first the Oxfordian conspiracy, then the Marlovian, then produces a list of resources for anti-anti-Stratfordians. Sarah says: Thank you for this reasoned critique of the argument. Cass says: I hope I see the day these anti-Stratfordian arguments get quashed once and for all, because it’s just sad, really. I do still think the Marlovian conspiracy would make a great movie, but the trouble is, if it got made, more people would believe these theories than already do.
  • Following up from the past few weeks of the Huck Finn censorship controversy, the Shakespeare Standard has an op-ed on why using sanitized texts is teaching a lie.
  • Remembrance of General Education Past. Sarah says: A lovely personal argument for the values of humanities courses.
  • Stolen Shakespeare Folio on Display in Cardiff. Cass says: I confess, when I first read the headline, my immediate thought was, “Wow, that takes a lot of nerve.” But no — it’s a Folio that was stolen but was then recovered, which makes far more sense.
  • Another idea about using technology to enhance the study of Shakespeare – this article on “Gadgets for Small Businesses” also includes an interesting Shakespeare-related use, specifically, the ability to read a scene and then, at a touch, being able to pull up several different versions of that scene in performance.
  • Touting the philosophy we whole-heartedly believe in, this British blog advocates actually seeing the plays you study.
  • And finally, for a little international flavor (following up after our last post), a refreshing take on the value of literature and its place in the school day… in China. “They were jumping up and down, telling the other kids what they read, and why others should read it. Every kid was dying to talk.” Would that all classrooms could have that energy!

I hope everyone’s had a lovely week. At OCS Education, we’re getting ready to hold our first Actor-Scholar Council of the year today, discussing The Comedy of Errors — stay tuned for the podcast of the event, which should be available sometime next week.

International Shakespeare

The past week has given me several occasions to consider Shakespeare in an international context. On Friday, we had visitors from the International Leaders in Education Program, who are currently spending a semester at James Madison University, come down to the playhouse for a tour, a couple of workshops, and a production of The Comedy of Errors. The group was wonderfully diverse — Morocco, Kenya, Senegal, India, Bangladesh, Egypt, and Brazil, that I can remember. Most were teachers of English in their home countries, and most had been introduced to Shakespeare at the university level. What surprised me, though, was the selection of plays that foreign students receive the most exposure to: Hamlet, Romeo and Juliet, and… The Merchant of Venice, of all things. Those were, far and away, the three that most of our visitors had had experience with, regardless of which country they came from. The choice surprises me because The Merchant of Venice tends to be a play, because of the culturally prejudicial difficulties presented by the text, that American schools don’t want to touch with a ten-foot pole. You’ll get the occasional brave teacher, of course, but on the whole, we shy away from it here. It made me curious as to why that play has so much appeal in other countries.

More broadly, however, talking with these teachers piqued my curiosity about teaching Shakespeare outside of the US, the UK, and other English-speaking nations. What is Shakespeare like when taught to those learning English as a second (or third, or fourth) language? What is a production of a Shakespeare play like when presented in a country where English isn’t the primary language? I wonder if foreign students approach Shakespeare with more or less trepidation than American students often do. Are the “thee”s and “thou”s that so intimidate modern students more or less of a problem? I suspect the concept might come easier in those countries whose languages still retain the formal and informal pronouns. I’m curious what challenges might arise as well — would they be the same as we face in American classrooms, or entirely different?

Then, over the weekend, I had the wonderful opportunity to talk to Globe Education’s Ryan Nelson, who is their digital media guru. He told me about the Globe’s 2012 project, which will be presenting all 38 plays in the Shakespeare canon in different languages, by companies from around the world . The project is part of the Cultural Olympiad leading up to London’s hosting of the Olympic Games (see the Globe’s press release or Twitter hashtag #Globe2012 for their updates). I’ll be so interested to hear how this project goes. Will curiosity drive audiences in to see a familiar play in an unfamiliar language? How easy would it be to follow along? I have to confess my own deficiencies here — I never learned a spoken foreign language. One year of French did me in, but I wonder if my many years of Latin would help me understand an Italian Julius Caesar or a Spanish Henry VIII. Knowing the source, and having that background to the Romance languages, would I be able to keep up in some fashion? It would be fOCSinating to find out — and if I somehow end up in London in the spring of 2012, I’ll certainly try to find out.

The idea of performing Shakespeare in languages other than English brings up its own interesting point. At the OCS, we believe that the heart of Shakespeare’s works lives in his text in performance, and we talk so frequently about his mastery with the English language — how many words he added to it, how freely he played with grammatical expectations, how deft a wordsmith he was. What is it about his mastery that can transcend that language, to continue to have appeal in Italian or Portuguese, in Urdu or Maori? And do other cultures perceive different messages from his plays than those of us in an English, Western background do? As Sarah discussed back in October, there’s a lot to consider when translating Shakespeare into another language.

I’d be interested to hear if any of our readers have had experience with Shakespeare in a foreign language, or have seen a production of one of Shakespeare’s plays presented in English in a country where English isn’t the dominant language. How is it different from Shakespeare in the US or the UK?

Imprimis: Links and Tidbits, 14 January 2011

For reasons unknown, the Authorship Controversy seems to have been rearing its hideous head on the Internet this week, along with more connections to Shakespeare sprouting out of the Huck Finn controversy, and the continuing debate over the worth of teaching literature.

  • To start with, from last weekend’s Shakespeare Theatre Association Conference, our managing director, Amy Wratchford, blogged about Shakespeare’s relevance and about the value of discussing Shakespeare on Twitter.
  • This blogger equates being a Stratfordian to being a stroke victim. Cass says: If you’re not quite sure what to do with that (or can’t decide to whom that’s most insensitively offensive), you’re not alone.
  • The I Love Shakespeare blog defends the Stratfordian cause rather sassily, noting that the only way other theories make sense is if you “fudge the historical record with airy fiction.”
  • And then this article refutes the anti-Stratfordians, but then overshoots and goes into the “Shakespeare as a secret Catholic” theory.
  • An op-ed in the Washington Post theorizes that educators can’t be reformers.
  • The Shakespeare Center of Los Angeles is putting Hamlet on trial, with Supreme Court Justice Anthony Kennedy presiding. Sarah says: We did that!
  • A writer for NPR uses the Huck Finn censorship controversy to expound his thoughts on why Shakespeare needs translation. Sarah says: Oh, no. Interesting that he uses the word “bowdlerized” in his discussion, since that man is roundly criticized for doing exactly what this author proposes. The quote he uses from Measure for Measure: “Of government the properties to unfold / Would seem in me to affect speech and discourse / Since I am put to know that your own science / Exceeds, in that, the lists of all advice / My strength can give you,” is, as in most of Shakespeare’s “hard language,” offering a tremendous number of clues to the actor and reader about what kind of character this is. When we look at Shakespeare as performance-based literature, the “hard stuff” becomes a tool for discovering insights about characters and playable moments. It becomes its own translation when staged.
  • Gilbert, Arizona is cutting literature from its high school curriculum. Sarah says: This came across my Google Alerts just moments after Cass posted our “book wish list.” A very scary tenet is working in Arizona, apparently. It seems they think kids need to read more non-fiction (and less Shakespeare) in order to become better prepared for the business world. Wonder if they realize how much business theatres generate, or how hungry people are for innovative, creative, and critical thinkers. They are doing their students a deep disservice. Cass says: And not just stage theatres — movies, books, and musicals generate how many billions of dollars in revenue each year? Not to mention how important it is to examine the stories a culture tells about itself and what they say about who who we are, who we’ve been, and who we want to become.
  • Finally, check out this review of James Shapiro’s Contested Will. Sarah says: And then come see us discuss the book at the Charlottesville Public Library on April 15th.

Here at OCS Education, we’re finishing the week on a rather busy note — a pair of workshops this afternoon, and then a board meeting tomorrow. Hope you all have had a good week and have a great weekend!

Blackfriars Conference — Planning, Call for Papers, and Early Registration

As the new year starts, the education department is getting ready to gear up our preparations for the 6th Blackfriars Conference, which will be held October 25th-30th, 2011. Our special Google calendar for the event is already filling up with deadlines and scheduled meetings, and we spent hours of our last education department workday coming up with to-do lists and project ideas. This project is both exciting and a little intimidating for me — I was still a student in the MLitt program during the 2009 Conference, so I only saw a little bit of the work that goes into making the Blackfriars Conference one of the best venues in the world for discussing early modern theatre. I’m in awe of my colleagues Sarah and Christina, knowing now how much they handled for the 2009 conference, and I’m looking forward to stepping up to the challenge myself. I’ll be documenting the progress of our preparations on the blog and on Twitter, so those of you following along will hear quite a bit about it between now and the end of October.

One of the primary focuses of the Blackfriars Conference, which sets it apart in many ways, is the relationship between scholarship and practice. How does one inform the other? How can we put research into play on the stage? What can staging, especially in an early modern space like the Blackfriars, teach us? We have a lot of ongoing dialogue at the OCS about this relationship and about how to improve the lines of communication between scholars and actors. A trouble that Sarah tells me has come up in the past, though, has been an under-representation of practitioners at events like the Blackfriars Conference. One of our goals for this year is to figure out why that happens and to determine how to fix it — What can we do to encourage more practitioners to engage in this conversation? If you have any ideas, we’d love to hear them. The Blackfriars Playhouse is not a museum, and the Blackfriars Conference is not solely a congregation for academics. Our space is a living tool for us, and we learn so much from the production of plays there, and some of the most exciting and thought-provoking sessions that I witnessed from the 2009 conference came from practitioners, examining staging choices or audience response. Because we know there is so much to be learned from the plays as performance, we hold staging sessions during the conference, where interested parties can use our actors, in the Playhouse, to examine a variant direction, a staging choice, or another crux that can only be thoroughly examined by bringing the words to life, rather than by reading them on a page. Last year’s staging sessions were so successful that we’ve added time for a few more this year, and we’re looking forward to seeing what challenges our presenters want to explore.

Here is our call for papers and abstract submission form. We’re looking for papers on audience contact, meter and rhetoric, rehearsal, playhouse conditions, visual design, history, architecture, Shakespeare’s relation to politics, the playing companies of early modern England, or other topics exploring Shakespeare’s words and his world in new and exciting ways. We’ll also be holding breakout roundtable sessions on shared language in the actor/scholar conversation, producing non-early-modern plays in early modern spaces, pedagogy, the economics of playing, Shakespeare and the web, props, politics, dramaturgy in practice, onstage silences, music, and prologues and epilogues. We accept submissions from college professors, high school teachers, theatre practitioners, graduate students, independent scholars — anyone with something thoughtful and exciting to say about Shakespeare, his contemporaries, his plays, or his world.

Conference Registration is now open — register by May 31st to get the special early rate. Please note that early registration has no effect on paper selection — but, by no means do you have to submit a paper to attend our conference. We hope to see attendees from all over the country, from many different disciplines relating to Shakespeare studies.

Imprimis: Links and Tidbits, 7 January 2011

Quite a few links for you this week, since we took a break from posting them over the holidays.

  • Just in time for the new semester, a list of Top Ten Tips for Studying Shakespeare. Sarah says: A good collection of recommendations.
  • A blog entry proposes approaching Shakespeare in the classroom more like a rehearsal. Cass says: A lot of the techniques here are similar to the ideas we build into our study guides. The more alive and active the text feels, the more the students get the idea that they’re working on something real, the easier it is to comprehend.
  • Can you judge a production company by their Romeo and Juliet? This blogger thinks so.
  • This workshop announcement from the University of Sheffield brings up a great point about the intersection of the literary and theatrical worlds. Cass says: The announcement also points out why we have the Romantics to blame for the idea of Shakespeare-as-literature-only (and I always like it when I have more reasons to blame the Romantics for things).
  • Addressing Shakespeare’s relevance, a professor at West Virginia University has written a paper linking Shakespeare to law school.
  • “Bringing the Bard behind Bars in South Africa”: With one of the highest incarceration rates in the world, South Africa has begun exploring new ways to rehabilitate offenders — and, as it happens, turning them into actors might be just the thing.
  • An opinion piece in The Washington Examiner critiques the NEA’s Poetry Out Loud competition. Cass says: We support Poetry Out Loud at the OCS — we even host one of the competitions — because we firmly believe in the value of reading verse out loud, but this article still makes some interesting points, particualarly regarding the competition’s selection bias towards modern poets over the more metrically regular verse of previous centuries. It’s not often these days that someone takes up in favor of stricter verse against free verse, so I’m pleased to see that.
  • An article in favor of technology as the future of education. Cass says: The author favors giving classrooms over to computers as entirely as possible, with teachers merely “facilitators” rather than actual instructors. I can’t help but feel that he’s missing something. I’m all for more focused use of technology in classrooms, but a computer can’t inspire, it can’t make something great for you — and a computer, no matter how well you program it, will never be 100% prepared for all of the questions and surprises that can arise from students. That human element is always going to be necessary.
  • Along those lines, here are a couple of articles debating one school district’s decision to bring iPads into the classroom. Interestingly, both articles use Shakespeare as an example. Cass says: I feel a little torn about this. I think the best argument in favour of the iPad (or other similar devices) is the textbook thing — great to cut down on paper, great to get rid of the weight in backpacks — and electronic devices offer so many more opportunities. You wouldn’t have to conform just to the standard textbooks used by the state. Teachers could choose for themselves what texts they wanted students to have access to. And it would also allow easier access to some of the great educational web resources that are out there. On the other hand, though, I feel more and more like more money should be put into the actual teaching at schools. Money to train teachers, to teach teachers, to give them the tools, rather than just using technology as a crutch. And, hey, maybe even money to pay teachers what they deserve someday. I also find it interesting how often Shakespeare is the catch-all for “education.”
  • And speaking of Shakespeare-as-litmus test, he’s also been brought into the recent controversy over a decision to publish a sanitized Huck Finn. Apart from the more generic Bowdlerization accusation, some commentators have opined that changing words for understanding is one thing; changing them for political-correctness is quite another. Even author Neil Gaiman got into it on Twitter, saying, “It’s public domain, so you can make Huck a Klingon if you want, but it’s not Mark Twain’s book.” Cass says: This is an interesting controversy for me, because it asks that question we frequently have to ask when cutting plays for performance: When have you changed so much that it’s no longer the author’s original work? Only the most stalwart of purists would say that you can’t change a single word (a tough argument to make, particularly in cases where we have quarto editions different from the First Folio). But when have you gone too far? If you cut 20 words? 20% An entire character? An entire scene? All the naughty words? Is it still Shakespeare’s Merchant of Venice if you tone down the anti-Semetic language? Is it still Shakespeare’s Othello if you sanitize the references to Moors?
  • On the more light-hearted side of things, a man is re-enacting Will Kempe’s famous Nine Days Wonder, planning to morris dance from London to Norwich, to raise money for a community vegetable garden. Cass says: To my English friends, please, I beg you, if anyone sees this, post the video.
  • Hot on the heels of Miramax announcing Shakespeare in Love 2, we’re now hearing about the possibility of Shakespeare in Love: The Play.
  • Finally, it’s worth mentioning that the OCS has a considerable staff contingent attending the Shakespeare Theatre Association conference in Colorado. If you (like me) aren’t there but wish you were, follow the hashtag #STAA11 on Twitter. Our own Amy Wratchford and Sarah Enloe, as well as Richmond Shakespeare’s Grant Mudge, have been diligently Tweeting.

Enjoy your weekends!

"But give me leave to try success": Goals and Achievements from 2010 to 2011

Yesterday, I served as the recorder for the OCS’s strategic planning meeting, which meant I had the privilege of listening in on several of our department heads and board members as they decided how we want to most focus our company’s efforts. Between that and the expected slew of New Year’s Resolutions I’ve been seeing around the Internet, I’ve been thinking a lot about goals and planning. I’ve been with the OCS for just over six months now, so this seems as good a time as any to look back and see what I’ve done so far as a part of the OCS Education team.

2010 Achievements

  • New study guides. When I came on in June, I took this project over from Christina, who had already started us down the new road. These guides were my first project at the OCS, and I’m ridiculously proud of them — they’re so much more directed towards our mission than the earlier generations of guides were, and they’re designed to help teachers get the students on their feet so they can explore the plays as they were meant to be experienced.
  • The Playhouse Insider. This is a huge thing, because we’ve never done something quite like this before. I’m so pleased with how it turned out — the articles are great (thank you, contributors!), the layout is beautiful, and there’s so much room for growth.
  • Growth of the blog — That’s right, this blog. We now get almost 900 hits a month, and that average is rising all the time. So thanks for reading, everyone! I’m so glad to have you all here.
  • Increased confidence in leading workshops, seminars, etc. I’ve gone from basically shadowing Sarah to feeling capable of developing and leading workshops on my own, and it’s been a blast. Whether it’s talking to high school students or retirees in the Road Scholars program, I make new discoveries each time I have the opportunity to share Shakespeare with a new group.
  • Tracking web mentions of the company. This project is ongoing, but I’ve been using Google Alerts to let me know whenever someone out there in the ‘tubes is talking about the American Shakespeare Center and the Blackfriars Playhouse. It’s been fOCSinating to see where we get mentioned (it’s a great way to keep track of our touring troupe, for one thing!), and it’s also made sure that I get to see what people are saying about us in blogs and reviews from outside the Shenandoah region.
  • I’ve learned how to use Google Docs. This program has made such a huge difference to how education has been able to build documents, refine language, and otherwise communication.
  • Twitter presence. Brand-new for the OCS this year, the whole education department got on Twitter back in the summer. I currently have 53 followers from all over the US and the UK, and the whole experience has been wonderful so far.
  • Facebook growth — Together with the marketing and development teams, we’ve seen steady and significant growth in our “likes” and followers on our Facebook page over the past six months. I use Facebook a lot to redirect to our website or to this blog, and it’s definitely increased traffic.

Not bad for six months, I think. I’m feeling particularly pleased because so many of the projects under my purview contribute to one of the company’s main strategic goals, of enhancing our company’s visibility in the world at large. OCS Education had a great year overall in 2010 — our summer programs were nearly at capacity, we had thousands of students in for school matinees, our seminars and Little Academes all went so well — the whole department has a lot to celebrate.

So, with those things achieved, or at least put into action, where do I want to be by this time next year? Here are my professional goals for my work in OCS Education in 2011 — things I’d like to improve on, expand, or achieve.

2011 Goals

  • 6 new study guides in enhanced format. With help from the rest of the education team, I’ll be building guides this year for Hamlet, A Midsummer Night’s Dream, Henry V, Richard III, Much Ado about Nothing, and Julius Caesar, and ideally, I’d like them all in the spiffy format our Othello guide was in this year.
  • Online resources for students. Our study guides, as they are, are geared towards teachers; we’d like to re-purpose some of those activities and to build some new projects that we can put out on the web to help students who are looking for resources on Shakespeare.
  • Expand The Playhouse Insider. I’m so excited about this project, and I want to make it even better in 2011. More articles, more world-class scholars as contributors, and, hopefully, a wider readership.
  • Read the Complete Middleton. Okay, this goal isn’t strictly professional, but I’ve had the Middleton Complete Works since last Christmas, and I’ve only cracked it open a few times. This year, I want to read as many of his plays as I can — especially since the OCS has started producing so many of them.
  • More Twitter followers — I’d love to break 100, at the least.
  • Continued growth of blog popularity — Since we went from practically zero to 900 views per month in just the last five months of last year, I’m going to aim for 2000 views a month by the end of 2011.
  • Use all of these social media connections to further relationships with other Shakespeare organizations, both in the US and internationally.
  • Host a successful Blackfriars Conference. This is obviously far from my sole responsibility, but OCS Education will be busy with this through much of the year. I want the conference to run as smoothly as possible, for all of our visiting scholars and other participants to enjoy themselves, and for everyone to learn a little something and come away with some new ideas.

I think it’s going to be a great year. We in OCS Education have so many exciting plans and things we want to make happen, and we definitely have the drive to get to our goals. I love working with Sarah, Christina, Doreen, and our interns, and I’m looking forward to getting to know the interns that will be starting in January, as well as newest team member Tom, who’s recently come on to help with our summer programming.

How about you folks? Any Shakespeare-related resolutions? I know there are several reading challenges floating out on the Internet, or maybe you’ve set a personal goal. Share, if you have — I’d love to hear about it!

Imprimis: Links and Tidbits, 20 December 2010

You may have noticed that it’s not Friday. The office’s holiday schedule means that I won’t be manning a desk this Friday or the next, so I decided to hold last week’s Tidbits till today, and we’ll get back on our usual Friday rotation after the new year.

This week: A lot on the merit of the humanities and a little bit of pop-Shakespeare.

  • Victor Davis Hanson writes in defense of the liberal arts, suggesting that, of the problems America could have, a population “immersed in and informed by literature, history, art, and music is not one of them.” Cass says: I love pretty much everything in this essay. The humanities don’t teach you what to think; they teach you how — how to think incisively, creatively, deliberately. Hanson also talks about the imperative of linking the modern world to our historical heritage, with the ever-present threat that history may repeat itself, and that it becomes more likely to do so the less we know about it. With the danger of losing our common touchstones, the stories that hold populations together as nations, “No wonder the public is drawn to stories like The Lord of the Rings and The Chronicles of Narnia, in which characters speak beautifully and believe in age-old values.”
  • An essay asks “Amid globalization, what do we read?” and posits that, when constructing curricula, we should not throw out old (European) classics just because we’re now including material from Africa, Asia, and the Americas. Rather, by embracing all possibilities, we might just construct a more well-read society.
  • Another essay: “The STEM of a plant cannot survive alone STEM meaning “Science, Technology, Engineering, Mathematics,” ie, the disciplines viewed as more profitable and necessary to our economy. As the author points out, the humanities offer problem-solving skills and command of language, and they also ask the difficult questions. “But pleasure isn’t the only benefit of an education filled with humanities, especially because not everyone enjoys taking classes in the humanities. Part of the importance of reading Shakespeare is its difficulty. The guy writes in a code that, in order to understand, you need careful attention and problem-solving skills. It’s like Sudoku, only you’re constantly learning new things along the way. Remembering all of the twists and turns of King Lear’s wandering may not help you ten years down the line, but the skills gained through challenging yourself will.”‘
  • New York theater takes on world history, with productions on topics such as war-torn Afghanistan, renegade American president Andrew Jackson, and race relations in the 1930s. Cass says: I love history plays, of all kinds. I think they illustrate so well why we ought to be interested in history, not just because of what it tells us about ourselves and how our culture developed, but because, plain and simple, most history is about sex and violence and incredible personalities — precisely the stuff of good theatre. As the article points out, “Shakespeare did history plays. But it’s the drama, not his manipulation of history, that lives on.”
  • California Shakespeare Theater’s Box Office Manager Robin Dolan talks about the myth of the off-season. Cass says: We empathize, Cal Shakes! The OCS produces shows 52 weeks a year, and the education department just discussed at our last meeting how our year has evolved so that we hop right from one exciting event or project to the next.
  • Finally, as you may have heard by now, the Weinstein Company and Miramax have signed a deal to produce a sequel to Shakespeare in Love. Cass says: There’s been a lot of Internet muttering about this lately, and I’m not fully certain why. If they get Stoppard back to write the sequel, I think it could be good entertainment. Leave Viola in the New World, though; let Will find someone new to inspire him, some influence that creates his darker, later plays.

Happy holidays, everyone! And in the words of Theseus: “Joy, gentle friends! joy and fresh days of love accompany your hearts!”

"And so, as Tiny Tim observed…" — The Holiday Season at the OCS

Staunton’s a winter wonderland today, coated in a thick blanket of snow, which makes it feel like just the right time to share my thoughts on the OCS’s holiday season with you. Each December, the OCS embraces wintry celebrations, and we guarantee there’s something for everyone, whether you’re looking for a joyful family outing or are hoping for some more grown-up entertainment. Either way, the holiday spirit is alive and well in Staunton, and I’ve thoroughly enjoyed all three of our December productions.

First up is the family-friendly A Christmas Carol, which the OCS has produced every year since 2002. The production is frothy and delightful. The OCS touring troupe does a wonderful job bringing the exuberant spirit of the show to life. Maybe I’m just an incurable sap, but I can’t help wanting to dance at the Fezziwigs’ party, and I always tear up about Tiny Tim at the end of the show. But if you can’t indulge a sentimental nature during the holiday season, when can you? I got to watch this show during one of our school matinees, and it was a great day for it — we had a younger group, 3rd-5th graders, and I had almost as much fun watching them as I did watching the show. The girls sitting on stage shrieked and clutched at each other when the ghost of Jacob Marley emerged from the trap, rattling chains and howling in agony — and the little boy sitting next to them leaned so far forward he nearly fell out of his seat, exclaiming “That was awesome!” when Marley descended again. The kids were delighted by the frequent interactions of the cast with the audience, whether to use them as hat-racks or scarf-holders, or as the recipients of the candy canes that the Narrator (Chad Bradford) whips out of his hat as though by magic. Something about the enthrallment of little kids makes this show even more special; it’s a different experience, and just that little bit more magical.

For me, A Christmas Carol took on a new tenor this holiday season, in light of the economic difficulties so many people have faced over the past year and more. When Scrooge (presented with scowling excellence by John Harrell) asks “Are there no prisons? And the Union workhouses? Are they still in operation?” or when he calls the unemployed “idle people,” it’s hard not to hear echoes of the recent debates over tax breaks and unemployment benefits. Of course, all of that is likely to sail right over the heads of the children in the audience, but adults may find Dickens’s classic more relevant than ever.

Second, an annual favorite, the adults-only Santaland Diaries. This year Rick Blunt hitches up the candy-cane stockings as Crumpet the Elf in David Sedaris’s one-man-show about the experience of being an elf at Macy’s Santaland. I got to watch John Harrell in this role the past two years, and with Rick in the elfin knickers, it’s definitely a different show. Rick inhabits the role with self-mocking glee, shamelessly changing into his elf costume on stage and, the night I saw it, pausing mid-monologue once to hike up those striped stockings. Particularly excellent is Rick’s way of playing off of the audience, incorporating them and their reactions into the story. What I’ve always loved about this show, however, and what Rick brings across particularly well, is the kernel of tenderness underneath all the cynicism and biting wit. The contrast particularly relevant for the modern holiday season, over-commercialized in a period of recession, when so many people feel the pinch even more tightly than during the rest of the year, when it’s become “cool” in plenty of circles to eschew the saccharine celebrations and settle in for a good snarking instead. Amid all of that, it’s nice to be reminded, through Rick’s excellent performance, of the real holiday spirit, the desire to make someone smile, to make someone feel special.

Finally, the OCS is pleased and proud to offer the world premiere of The 12 Dates of Christmas, written by and starring our own Ginna Hoben. Based off of her own experiences, Ginna presents the story of Mary, a woman who sees her fiance making out with a coworker on national TV during the Macy’s Thanksgiving Day parade. The audience follows her through a year’s worth of bad dates and family feuds. The show is refreshingly honest. The sparkle may be off the snowflake, but that doesn’t mean we can’t laugh at the absurd way that life falls apart, falls together, and constantly reassembles — because Mary’s experiences are, while idiosyncratic tales particular to one woman’s life, also universal. Almost everyone’s suffered a heartbreak, often a humiliating one. Almost everyone knows what it’s like to face a holiday, whether Christmas or New Year’s or Valentine’s Day, alone. That association we all share, combined with Ginna’s open and inviting demeanor, makes it easy for the audience to relate to Mary, to want to cheer her on and to see her succeed. Ginna also uses the audience to wonderful effect, calling out for advice, looking for sympathy or agreement, or cocking an ironic eyebrow whenever we think we know where the story is going. I think what I like best about the show, however, is that it doesn’t tie up in a neat little bow. Mary’s story is going to go on, offstage, post-monologue — and that’s real. Life’s major events and excursions rarely end on neat little capstones.

All three of these shows continue through the end of the month, so you’ve still got plenty of opportunities to catch them if you’re within traveling distance. And lest you think that the OCS becomes a Shakespeare-free-zone during the holiday season, the touring troupe will also be giving performances of their three traveling shows, Macbeth, As You Like It, and Measure for Measure, during the first week in January.

Imprimis: Links and Tidbits: 10 December 2010

This week: More on Shakespeare and economics, the value of education, some very young folk engaging with Shakespeare, and a few just-for-fun lists.

  • A teacher blogs about the value of a liberal arts education. Cass says: She has an amusing (and so true) comment on Shakespeare: “And in Professor Brady’s Shakespeare class, I learned the undeniable truth that Shakespeare was a dirty dirty bird. When in doubt, assume he’s talking about sex. This will serve you well in interpreting his texts. It also goes far in explaining why the man’s works have endured for so long.” But the real focus of the post is a commentary on the current state of our education system, which in America is designed to churn out round pegs for round holes, cogs for the machine. On her students’ obsession with good grades and finding “the right answer,” she says, “I grew so frustrated, I returned everyone to their seats and asked a question. ‘Why do you attend school?’ After the first round of the ‘Because they make us’ chorus, other answers started to trickle in. To get good grades. To get high SAT scores. To get into a good college. To get a good job. ‘Doesn’t anyone want to learn?'” This goes so much to my own personal philosophy of teaching — that we ought to value education for its own sake, that being a learned individual, who can carry on interesting conversations, think critically and creatively, and who has the desire to seek out new information and to explore it — that that’s important. I wish it wasn’t always about the bottom line and the step-ladder to success.
  • Former OCS NEH Institute participant Jim Casey has an article coming out soon on the “ethical requirements of early modern bodies and the moral judgments tied to them,” especially as relating to violence, mOCSulinity, and femininity. Sarah says: Not unrelated to Cass’s blog this week… Should be an interesting read.
  • Sir Patrick Stewart on, among other things, British arts cuts in education: “I don’t think any recent Government can be smug about their relationship to the arts in England. Even the Labour Government underestimated the sheer economic benefits that derive from it. It’s never been fully appreciated or understood. Until it is, there will be tension.”
  • The essay “Sophistication Versus Savagery: How Education Defies Distinction” examines, through some of the work of the late Frank Kermode, Caliban and the relationship between education and morality.
  • A director has made a career out of doing Shakespeare in unusual locations, including Hamlet on Alcatraz. Cass says: This is pretty much the polar opposite of how we do Shakespeare at the OCS, but man, that sounds like it would be a fun show to experience.
  • Career Lessons from Shakespeare employ some cleverness in making practical use out of quotes from Shakespeare, and another author argues that “Shakespeare knows why so many home-based businesses fail — Do you?”
  • A home-schooling mom wants to assure you that yes, six-year-olds can do Macbeth. Cass says: I love that this mother isn’t shying away from the challenges presented by Shakespearean language, and that she’s willing to introduce her six-year-old to such advanced concepts as allegory and metaphor. Here’s hoping young Willem is hooked for life — send him across the pond for our Theatre Camp when he’s old enough!
  • Another remarkable student, this thirteen-year-old wants to see all of Shakespeare’s plays within two years. Cass says: What a great personal challenge! This kid’s lucky to have a family who can travel to see so many great shows done by so many wonderful companies. We’re especially grateful that they’ve chosen to see a few of their plays at the OCS — come back for more when you move on to Middleton, Marlowe, and Jonson.
  • The end of the year always sees an influx in “Top 10” lists and similar, and the world of Shakespeare is no different. Enjoy 10 Genre-Busting Shakespeare Remixes and the Coolest Shakespeare Riffs in Science Fiction and Fantasy.

That’s all for this week — If you’re within traveling distance to Staunton and need some holiday cheer, swing by for family-friendly A Christmas Carol, or for the grown-ups only Santaland Diaries or Twelve Dates of Christmas.