Minds and Faces: the Excavation of Richard III

The recently discovered skeleton of Richard III

The recently discovered skeleton of Richard III, courtesy of the University of Leicester.

But I, that am not shaped for sportive tricks,
Nor made to court an amorous looking-glass;
I, that am rudely stamp’d, and want love’s majesty
To strut before a wanton ambling nymph;
I, that am curtail’d of this fair proportion,
Cheated of feature by dissembling nature,
Deformed, unfinish’d, sent before my time
Into this breathing world, scarce half made up,
And that so lamely and unfashionable
That dogs bark at me as I halt by them;
Why, I, in this weak piping time of peace,
Have no delight to pass away the time,
Unless to spy my shadow in the sun
And descant on mine own deformity:
And therefore, since I cannot prove a lover,
To entertain these fair well-spoken days,
I am determined to prove a villain
And hate the idle pleasures of these days.
Plots have I laid, inductions dangerous,
By drunken prophecies, libels and dreams.

Richard III, 1.1.16–35

So speaks Richard III, the character Shakespeare made so villainously charming, an ugly, murderous version of the modern Dr. House, perhaps, or a quasi- vegetarian version of Hannibal Lecter. Shakespeare took his descriptions of Richard III pretty directly from Sir Thomas More, who described the real-life Richard as “little of stature, ill featured of limbs, crook-backed, his left shoulder much higher than his right, hard favored of visage [...] he was malicious, wrathful, envious and from his birth ever froward.” But last week, from underneath a carport in England, Richard’s bones were dug up, and his skull has been reconstructed to show a comely face, quite as unfairly maligned as was, many now argue, his reputation.

The unfavorable way in which Shakespeare’s Richard depicts his own body – which, he implies, has provided a malignant template for his mind  – is underscored throughout the play by how other characters emotionally color him: a “lump of foul deformity,” a “poisonous bunchback’d toad,” an “elvish-mark’d, abortive, rooting hog!” But it seems that Richard’s major problem was his misaligned shoulders, which intensified the appearance of a hunch. I believe that it is quite possible, indeed, that the real-life Richard suffered from a genetic condition called Sheuemann’s Kyphosis (which 30 per cent of people have, usually in a very mild form), or from a leg length discrepancy, which gives the shoulders a correspondingly unequal height. Any thoughts on this from the medical doctors or archeologists amongst our patrons?

Richard III was England’s monarch between 1483 and 1485, just two short years within which, it seems, his physiognomy rather than his conduct inspired the monstrous reputation that Shakespeare consolidated for him a century later. During Richard’s reign, the Wars of the Roses, the two houses of the Plantagenet dynasty battled each other (often to the death), and it was after the end of this decades-long war that it was forbidden by the laws of both Church and State to take revenge into one’s own hands. Richard instigated many liberal reforms, and yet he has gone down in history as a scheming, though humorous, devil.

“There’s no art/To find the mind’s construction in the face,” says Duncan in Macbeth. Well, the first thing that the investigative team has done is to reconstruct the face. Let’s see how they inspire us now to reconstruct the mind behind it.

What do you think of the recent discovery? Let us know in the comments below. And now that we know what one of Shakespeare’s characters really looked like, be sure and subscribe to our 2013 season so you can get a better idea what his characters feel.

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Season Artist Profile: Richard Montoya

In the months leading up to our 2013 Main Stage season, I will once again be profiling the fertile minds behind the season’s productions—American Night, Romeo and Juliet, Lady Windermere’s Fan, and A Winter’s Tale—in our e-newsletters. For the inaugural installment of the year, I spoke with Richard Montoya, founding member of the legendary performance trio known as Culture Clash, which began in San Francisco’s Mission District in 1984. He collaborated with them and with Jo Bonney to write American Night: The Ballad of Juan José, developed as part of Oregon Shakespeare Festival’s “American Revolutions” program (the same program that developed Jonathan Moscone and Tony Taccone’s Ghost Light). When it ran at OSF, it resulted in their first-ever extension performances; when it opens our 2013 season in May, it will only be its fifth-ever production.

What follows is the full transcript of my email interview with Richard. To sign up for our email newsletter, click here.

Stefanie Kalem: When and how were you attracted to writing for performance, with Culture Clash and as a solo writer? Did you have a formative experience with theater as a kid, or did it happen more organically? 

Richard Montoya by Jenny Graham - OSF

Richard Montoya; photo by Jenny Graham - OSF.

Richard Montoya: It happened organically as a child—my folks were involved with the United Farm Workers Union and close to César Chávez, and there was a Farm Workers’ theater at that time that was used as a great tool for organizing workers, pulling them directly from the fields to join a fledgling union. This was done with song and earthy humor and satire and absurd comedia styles; all of that is very much in my tool box to this day—theater for a purpose beyond entertaining. I like entertaining, don’t get me wrong, but the theater of those times was urgent: The sheriff and the Teamsters could be rolling down the street so there was that need to be nimble, mobile, swift—make your point, get a laugh, sing a song, and move on. This is American Night

SK: What made you first decide to sit down and write a play on your own, without your regular collaborators?

RM: I started writing solo out of need. I was tired of missing deadlines or getting three schedules together. Writing for one is hard enough; three crazy guys through the years, near impossible. Like in a boy band, there are dynamics—we started out as a committed collective like the Cheese Board in Berkeley but found eventually that one guy was better at sauce, another guy could make the dough. And so I enjoyed the hours and solitude and relative peace of writing solo. But it really took flight in the year following 9/11. We were mid-commission at Arena Stage with Molly Smith (for Anthems: Culture Clash in the District) and the tragedy happens; six days after September 11, 2001, I am on a plane to DC to finish the commission which completely changed at that moment. I sat at LAX with a grief counselor on his way to walk a family through the Pentagon. We talked for 11 hours nonstop at the airport bar. I wrote feverishly—I was never a super patriotic person, but when the counselor took his American flag lapel pin off his jacket and put it on mine and told me I was a war correspondent with a greater responsibility, my life changed: I didn’t suddenly go around saluting flags but I knew what is what like to be a writer in America. And I wasn’t in the boy band anymore. Anthems: Culture Clash in the District was my first solo outing.

American Night at Yale Rep by T. Charles Erickson

The cast of AMERICAN NIGHT at Yale Rep; photo by T. Charles Erickson.

SK: How will the American Night that Cal Shakes produces differ from the original production at OSF? Or more recent productions at Yale Rep and elsewhere?

RM: It is always very fun and essential to write specifics for a region, I believe. The Bay Area version for Cal Shakes is already a riot for me—I know, or I like to think I know the East Bay fairly well. The difference between LA and the Bay is vast, and so is New Haven; Orinda sounds very Spanish to me and romantic and I love all that confusion and clashing of Alta-California and how un-Spanish Walnut Creek and Dublin sound!

I also relish the things that bind us; our country is getting smaller. I remember a “thank you” note from a lovely couple following a show at Yale Rep, and it said come visit us anytime in Newtown CT. It tears me up to look at it now but it draws me in at the same time and allows me to feel that tragedy is ever more present, not just a far-off news item and pundits yelling on CNN. I think a lot of Americans felt that way. And so this huge country can be a small town, too.

These are the things I think that are difficult for a recently arrived immigrant to feel and know, but I want our American Night hero Juan José to know that, while America can be a violent place, here—as is Mexico—there are more reasons to stay and become a citizen and contribute and make a place better as our grandparents and those before them did.

My hardest job sometimes is explaining to my Salvadoran house keeper (yes, I have one, too!) that after the Korean Conflict my dad and his comrades took their GI Bills and went to art school at the California College of Arts and Crafts in Oakland and that action changed our family’s life. I am still riding the wind from that decision. And that a country does that for those who serve—not a bad idea, my housekeeper thinks!

SK: What’d the latest on your film directorial debut, SF Noir? And how did it come to pass that you’d direct a film adaptation of Water & Power?

RM: I participated in four films in 2012: My own picture Water & Power, based on my play of the same name; Chavez with Mexican director Diego Luna about the life of my childhood hero; The Other Barrio, based on a short story from Alejandro Murgilla, the Poet Laureate of SF; and something else I film this week in LA. W&P is my baby and I am super proud of it—it took years of Sundance Lab time, which I am grateful for, and it will be ready in early spring 2013.

SK: What inspires you right now? Any particular music, current events, people, et cetera?

RM: Work inspires me. I have four play script deadlines this week and I am on vacation! Campo Santo inspires me and it’s why I am writing a very intimate new work for them inspired by the life and loss of their guiding spirit, Luis Saguar. I was riding in the back of a shuttle van a few months back, traipsing thru the Santa Cruz mountains near Watsonville with Lynn Nottage and Amy Freed, and I thought, man these chicks inspire me! We’re all conspiring on a play about food for your old friends at Berkeley Rep and the Ground Floor Project; that whole thing just had me buzzing for months, and I am thinking jeez, I am writing a play with Lynn and she is curious about me and it’s just a bunch of nerds bouncing around the organic farms and migrant camps of NorCal doing our work. Also on the bus was a newcomer named Octavio Solis, but I spent my time with the ladies! They inspire to no end…

SK: If you could have written any play in history, what do you wish it could have been?

RM: American Night put me in touch with a deep regard for history—American history, sure, but actually all things old. What did West Texas in 1918 really look like, smell like, feel like? I have to drive there and feel it and sit with it and stand with it and ask permission to use it; I stand at graves and say little prayers or sing songs or leave bottles of cold Coca-Cola and this is my way of thanking and borrowing. What I often drive away with is my mind loaded with richness and an understanding that the early America was a multicultural camp with characters armed to the teeth… Oh, westward ho, indeed, carefully and swift as night.

Subscribe now to get the best seats at the best prices for American Night and the rest of our 2013 season. 

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SPUNK Makes Bay Area Top Ten Lists for 2012

Patricia McGregor by Matt Holliday

Patricia McGregor by Matt Holliday

So far, so good: Patricia McGregor’s 2012 Cal Shakes production of Spunk is number four on Chad Jones’ Theater Dogs top ten, and also made Sam Hurwitt’s Idiolect 2012 round-up. In addition, Jones named Cal Shakes Associate Artist Stacy Ross his MVP of the year, giving a shot-out to her fellow AA James Carpenter along the way.

Stay tuned: We’re certain to have more to list as the lists keep coming!

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It All Adds Up…

December 20, 2012

Dear Friend of Cal Shakes: Numbers can tell great stories, but don’t take our word for it. Take a look back at how Cal Shakes’ 2012 programs added up to great theater and a big impact on the cultural and educational experiences of people like you:

51,000 people—a new record—who attended performances, picnics, Grove Talks, Student Discovery Matinees, tours, and parties at the Bruns Amphitheater

19 percent of our 2012 audiences benefited from free or deeply discounted access to live theater in a magnificent setting.

2012 conservatory student bows

A 2012 Summer Shakespeare Conservatory student practices her bows backstage; photo by Jay Yamada.

976 hours of instruction provided by teaching artists in school and community residencies, Conservatory classes and rehearsals, after-school learning, and pre-show orientation for Student Discovery matinees

35 Summer Shakespeare Conservatory students who received partial scholarships

6,125 miles, the farthest distance traveled by a Summer Shakespeare Conservatory student—from Florence, Italy to Oakland, California

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1054 free tickets donated to local schools, and other nonprofits to help them raise funds for their programs

83 free tickets donated to local library systems for them to disseminate, free of charge, through the Discover & Go program

128 free tickets donated to local organizations through our own Community Engagement program

60,000 kilowatt hours of solar energy collected to power our Theater operations

Patricia McGregor dances on stage

SPUNK director Patricia McGregor dances on stage with a young audience member after the opening night performance; photo by Jay Yamada.

650 people—artists, artisans, teaching artists, interns, board members and other volunteers, plus program and administrative staff—that fueled the creative work on stage and off

199 hours of rehearsals, on average, required to perfect each of our four 2012 Main Stage productions.

116 hours of performance, on average, comprising the runs of each of our four 2012 Main Stage productions, including previews and Student Discovery Matinees.

4 skulls gracing our Hamlet stage. (Alas, poor Yorick, you’re not alone!)

4.5 gallons of stage blood used during the run of our production of Hamlet

643 gallons that would have fit into Hamlet’s aquarium (The set’s pool could have held 18,289 gallons if it had walls at the stage extents.)

144 cucumber sandwiches eaten during the run of our production of Blithe Spirit—two slices of bread, cut into eights, making eight sandwiches

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35 invocations of words describing libations that haunted our production Blithe Spirit: At the start of rehearsals, the Cal Shakes script for Blithe Spirit contained seven uses of the word “martini” (all in speech), ten of the word “cocktail” (eight in stage directions, two in speech), and an intoxicating 18 uses of the word “drink” (nine in speech, nine in stage directions).

500 plastic butterflies adorning the costumes for The Tempest this summer, each one cut out by hand

Whether you give $10 or $10,000 your contributions are what make our work possible: on stage, in classrooms, and in communities across the Bay Area. It all adds up. But what really counts right now is you. Please make your year-end gift today.

With gratitude,
Your friends at Cal Shakes

P.S. By making a first-time contribution or by increasing your support today, your donation could be matched by a generous challenge gift. Thank you!

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Associate Artist Roundup: Scrooge, the Circus, and a Baby

It’s time for our annual shout-out to the theatrical antics our talented Associate Artist company is up to during the winter months.

Dan Hiatt as Jacob Marley

Scrooge (Richard Farrell) is visited by the ghost of Jacob Marley (Dan Hiatt) in San Jose Rep's A CHRISTMAS CAROL; photo by Kevin Berne.

L. Peter Callender is in the midst of directing Cat on a Hot Tin Roof, which opens January 26 at his African-American Shakespeare Company. Then, in February, he will be headed to Virginia Stage Company to play Simon in The Whipping Man, directed by Marin Theatre Company’s Jasson Minadakis.

Ron Campbell is still playing the King of the Clowns in Cirque du Soleil’s Kooza; the show will be performed January and February at the Royal Albert Hall in London before heading to Madrid, Bilbao, Moscow, and Paris. Back here at home, he’ll be doing readings of Yorick’s Last Laugh, a one-man-show written for him by Mark Leiren-Young.

Nancy Carlin just directed Honk!, Shakespeare Santa Cruz’s holiday show. She’ll be teaching acting at UC Santa Cruz this winter, and will appear, alongside fellow Associate Artist Danny Scheie, in their groundbreaking production of Peer Gynt, as part of their Guest Artist program.

James Carpenter is, of course, in his seventh year as Scrooge in A.C.T.’S A Christmas Carol, directed by fellow Associate Artist Domenique Lozano and featuring its usual slew of Cal Shakes and Bay Area favorites; Carol runs through December 24. Carpenter will play Pozzo in Waiting for Godot at Marin Theatre Company, and then on to as-yet-to-be-determined roles in Berkeley Rep’s Pericles.

Dan Hiatt is currently playing Jacob Marley and others in San Jose Rep’s A Christmas Carol, adapted and directed by Rick Lombardo, running through December 23. In January he starts rehearsals for Old Wicked Songs at Center Rep in Walnut Creek, directed by Jessica Heidt; it opens in February. From there, Hiatt goes straight into rehearsals for Max Frisch’s The Arsonists at the Aurora, directed by Mark Jackson.

Taming of the Shrew at OSF

Nell Geisslinger as Kate in OSF's THE TAMING OF THE SHREW, with costumes designed by Meg Neville.

Jennifer King will direct The Bandaged Place for Aurora Theatre’s Global Age Project in February; from there she’ll direct The Sound Of Music for Napa Valley Conservatory Theater.  She continues to head the Theater Program at Napa Valley College, where she founded Shakespeare Napa Valley.

Joan Mankin has been keeping busy teaching physical comedy at A.C.T. Studio; she’s now directing Crackpot Crones for Stage Werx Theatre, running December 15–30.

Meg Neville will design costumes for a rockabilly-inspired The Taming of the Shrew at Oregon Shakespeare Festival, directed by David Ivers, opening in February; Pericles at Berkeley Rep, directed by Mark Wing Davey, opening in April; Krispy Kritters at Cutting Ball, directed by Rob Melrose, opening in May; and our own Lady Windermere’s Fan, directed by Christopher Liam Moore, opening in August.

Danny Scheie will be appearing in Troublemaker at Berkeley Rep, written by Dan le Franc and directed by Lila Neugebauer; it opens in January.  As mentioned above, he’ll be playing Peer Gynt (the elder) in UCSC’s multidisciplinary production, directed by Kimberly Jannarone. He is also directing a touring production of Henry V for Shakespeare Santa Cruz, and then directing playwright and actor Colman Domingo’s new play Wild with Happy at TheatreWorks for a June run; it is fresh from a run at the Public in New York (and Cal Shakes alumnus Domingo can be seen onscreen in the first scene of Lincoln).

And finally, Susannah Schulman has, as she puts it, “only one event to report for the upcoming few months, and that is that I’m gonna have a baby! A boy, due January 8. The proud father is another Cal Shakes alum, my husband Reg Rogers.”

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Which Shakespeare Character Would You Invite to Thanksgiving?

Shakespeare ThanksgivingIt’s almost that time: Time to eat ourselves in oblivion among family, friends, and the occasional random stranger. But what if you could sit yourself beside one of Shakespeare’s creations come Thanksgiving? Would you choose Ophelia, who’d surely be too distraught to notice your stealing her yams? Or Henry V, who would give all his fame for a pot of ale—and would therefore never run dry at your table? Pick your partner and share it with us on social media by November 26 to win a handcrafted beverage from Peet’s Coffee & Tea on us!

Simply tell us your guest of choice—and some words as to why—on our Facebook wall or by tweeting to @calshakes with the hash tag #shakesgiving. We’ll pick our favorites and send Peet’s certificates their way.

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Ask Philippa: Off-Season Edition

Philippa Kelly at Blithe Spirit Scoop 2012 by Jay Yamada

Philippa Kelly at the Inside Scoop for BLITHE SPIRIT, July 2012; photo by Jay Yamada.

Philippa Kelly, resident dramaturg for Cal Shakes, invites your questions about our 2013 season, which begins May 29. Subscriptions and FlexPasses on sale now.

Just because the Main Stage season closes, it doesn’t mean we at Cal Shakes are suddenly turned to marble, like Hermione in the fourth play of our 2013 season, A Winter’s Tale. Ask any questions you like and you’ll get an answer promptly. Are you reading the 2013 plays between seasons? Curious as to what we’re planning? Or do you have questions about Shakespeare—what is known about his life and writing process? Ask in the comments and I’ll be sure to respond.

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Jumping Into the Fire: An Understudy’s Tale

During the extension week of Liesl Tommy’s Hamlet this month, actor Nicholas Pelczar fell ill the morning of the Student Discovery Matinee, and his understudy, Philip Goleman, went on for him.

This is his story.

Everyone said, “Not what you expected when you woke up this morning, huh?” And it was not: It was a whirlwind from the moment (Stage Manager) Laxmi (Kumran) called me to the minute I got back on BART to head back to work after the show.

I must have looked like a deer in the headlights as I was whisked from the green room to the stage for fight call to rework the play’s final fight; to the dressing room to get the down-low on the costumes; to the moment when I finally stepped on stage. Thankfully, I was surrounded by a wonderful, supportive group of actors, stage management, and backstage crew to get me properly through the show.

It’s a show that, from the audience’s perspective, did not seem like three hours—and it seemed a lot shorter from my perspective that day. For me, my favorite moment was coming down through the audience as Laertes, gun in hand, yelling at the King, with the kids in the audience turning to see me and exclaiming “whoa!” as I went down the steps toward the stage. That made the day for me, being there to make sure that they got to see this show and get exposure to Shakespeare.

Going on is not something you expect to happen, especially in the extension week, but you keep alive the idea and the willingness to jump into the fire on a moment’s notice. With a phenomenal show and superb cast and production crew, you know you’re not jumping in alone, and it’s something I would willing jump into again and again.

Pictured above: Goleman with actors LeRoy McClain (Hamlet) and Zainab Jah (Ophelia) after his performance; photo by Jay Yamada.

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Listen to Trish Tillman Talk About 32-Second Shakespeare

Trish Tillman

Trish Tillman

Here’s our own Director of Artistic Learning Trish Tillman on the air at FOX 101.1 FM in Salinas yesterday, talking with Mark Carbanaro about her 32-second Shakespeare at the Carmel Authors & Ideas Fest and our production of Hamlet.

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HAMLET Grove Talk

Click on the arrow below to listen to a podcast of a pre-performance Hamlet Grove Talk, presented by Resident Dramaturg Philippa Kelly. Podcast produced by Will McCandless. Hamlet has been extended; the production runs through October 21, 2012.

 

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