The Upstart Crow

Articles from Vol. 29, Annual

"A Verse to This Note": Shakespeare's Haunted Songs
In the most famous episode of Rossini's opera Otello, the doomed Desdemona, on the eve of her death, hears the distant singing of a gondolier. He sings a snatch of Dantes Divine Comedy: the words of Francesca in the Circle of Lust, as she commences...
Brooklyn Academy of Music: The Tempest (2010)
The Harvey Theatre, one of the Brooklyn Academy of Music's playing spaces, strikes one as particularly appropriate for Shakespeare s The Tempest. The theatre, itself a bit shipwrecked, shows its age in its scuffed arches; but as The Tempest teaches...
"Dining on Two Dishes": Shakespeare, Adaptation, and Auditory Reception of Purcell's the Fairy-Queen
In 1701, six years after the death of composer Henry Purcell, the managers of the Theatre Royal placed the following advertisement in The Flying Post. The Score of Musick for the Fairy-Queen, set by the late Mr. Henry Purcel, and belonging to...
Editors' Introduction to "Shakespearean Hearing"
When the Chorus of Henry Ventreats the audience "[g]ently to hear, kindly to judge, our play" (1.1.35), he evokes a theatrical experience that was a much aural as visual. The early modern English playhouse, like Caliban's isle, was full of noises--drums,...
"Here's a Knocking Indeed!": Macbeth and the Harrowing of Hell
Knock. Knock. Who's there? In the Harrowing of Hell scenes of English mystery plays, the answer to that question was no joke. The Harrowing marks the climax of the battle between God and Satan for the fate of humanity. Following the crucifixion, Christ...
Shakespeare and the Numbering Clock
During Shakespeare's lifetime, a momentous change in the soundscape of t early modern England was in progress. Somewhere in the middle of the sixteenth century, domestic timepieces that more or less reliably indicated hours and minutes became increasingly...
Shakespeare's Inner Music
Early modern theories of musical affection tended to describe it as a remote capacity for .touch: music was a refined substance or subtle vibration that penetrated the senses and moved directly to affect the animal spirits or soul. (1) Francis Bacon,...
The 2009 Oregon Shakespeare Festival
As Bill Rauch, Artistic Director, and Paul Nicholson, Executive Director of the Oregon Shakespeare Festival, note in their introduction to the Festival's Souvenir Program, 2009 marks the fiftieth anniversary of the current Elizabethan Stage and the...
The 2009 Stratford Festival: Macbeth and Bartholomew Fair
The Stratford Festival's Macbeth and Bartholomew Fair were both full of sound and fury. But the noise in director Des McAnuff's Macbeth signified an experiment in contemporary relevance that ultimately failed to harmonize the play's political and psychological...
The 2010 Alabama Shakespeare Festival: Hamlet
Traveling north on Interstate 65, away from Montgomery, one happens upon an undersized off-white billboard rising on short stilts from a farmer's field; emblazoned there is a horned devil in red silhouette holding a pitchfork and ominously gesturing...
The 2010 Season at London's Globe Theatre
[ILLUSTRATION OMITTED] This review presents an experiment, an essay written jointly by two authors on four Shakespeare plays from the 2010 London Globe season. While in previous years, each of us has reviewed the entire Globe season, scheduling...
The Royal Shakespeare Company 2009: As You like It: "Reviewing Shakespearean Theatre: The State of the Art," September 5-6, 2009, Shakespeare Centre, Stratford-upon-Avon
Any gathering of approximately seventy theatre lovers for a discussion of a production the previous night could quickly devolve into chaos. But as the attendees of the "Reviewing Shakespearean Theatre: The State of the Art" conference at the Shakespeare...