{"id":70203,"date":"2014-04-23T15:31:43","date_gmt":"2014-04-23T19:31:43","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=70203"},"modified":"2019-02-04T11:17:45","modified_gmt":"2019-02-04T16:17:45","slug":"shakespeare-heartthrob","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2014\/04\/23\/shakespeare-heartthrob\/","title":{"rendered":"Shakespeare, Heartthrob"},"content":{"rendered":"

Reclaiming the Bard for the common man.<\/em><\/p>\n

There was a time when attending a motion picture was not an occasion but an event. Most of the great movie houses that might remind us\u2014the Roxy in Times Square, Fox Theater in San Francisco, the Loews Palace in DC\u2014are long gone, but the Music Box remains. A local landmark on Chicago\u2019s North Side, the theater still has its Austrian curtains, house organ, and even a hoary legend: the ghost of Whitey, the house manager who ran the theater from opening night in 1929 until Thanksgiving eve, 1977, when he lay down for a cat nap and passed away in the lobby.<\/p>\n

The Music Box is an 800-seat theater, more than three times the size of Donmar Warehouse, another theater nearly four thousand miles away in London. What brought the two houses together was Shakespeare\u2019s Coriolanus<\/em>. A recent performance at the Donmar was beamed live, and later rerun, to cinemas all over the world as part of Britain\u2019s National Theatre Live<\/em> series. It was the first time the Music Box telecasted a production that completely sold out.<\/p>\n

In Shakespeare\u2019s canon, Coriolanus<\/em> sits somewhere between rarely remembered plays like Pericles<\/em> and Two Gentlemen of Verona<\/em> and stock selections like King Lear<\/em> and Romeo and Juliet<\/em>. A story of pride and political intrigue plucked from Plutarch\u2019s Lives<\/em>, the play is a little like an olive: a bitter fruit from Rome and something of an acquired taste. Its title character is one of Shakespeare\u2019s great creations\u2014for an accomplished actor, a role almost as inevitable as Iago or Macbeth. T.S. Eliot called the play \u201cShakespeare\u2019s most assured artistic success;\u201d he admired it so much he wrote two \u201cCoriolan\u201d poems with an eye toward an unfinished tetralogy.<\/p>\n

It\u2019s unlikely enough that an art-house movie theater would sell so many tickets to a telecast of Coriolanus<\/em>\u2014but I should add that this was a morning matinee in Chicago on a frigid Sunday in February. When I arrived, then, I wasn\u2019t exactly worried about finding a place to sit\u2014but I was bewildered to discover a packed house where I expected an acre of open seats. <\/p>\n

I found mine between two accommodating couples in the second-to-last row. At the other end of the theater, Coriolanus was already blasting the Roman peasants\u2014you dissentious rogues<\/em>\u2014for daring to demand grain. For Shakespeare\u2019s surliest character, he was quite comely, and considerably younger than the middle-aged men who typically inhabit the role. He was also the reason why the audience looked suspiciously like a pep assembly.<\/p>\n

If the name Tom Hiddleston means nothing to you, you probably missed last summer\u2019s Thor: The Dark World<\/em>, in which Hiddleston reprised his role as Loki, the mischief-making demigod who has become the most successful villain in the Marvel movie universe. You almost certainly didn\u2019t vote him MTV\u2019s \u201cSexiest Man in the World,\u201d a title he won last December in a 77-percent landslide. That victory was thanks to the very girls (and not a few boys) who were drawn to the Music Box that morning: they came not for Shakespeare\u2019s gilded syllables, but for Tom\u2019s sportive grin.<\/p>\n

It has transatlantic appeal. The host of the telecast noted that the theatrical run at Donmar had sold out in twenty-four hours and that she had been surrounded at an earlier performance by \u201cschool kids\u201d who \u201cstood up and screamed their appreciation.\u201d Her experience echoed my own and that of the handful of others who were drawn to the Music Box not for an international sex symbol but for the Sweet Swan of Avon. The sell-out was such a surprise to some regulars that a staff member took the stage at intermission to assure them the $15 tickets had not been handed out gratis (and to inform the irregulars that an encore performance would be scheduled ASAP).<\/p>\n

I hope the grumbling was minimal. The last thing Shakespeare needs is votaries standing akimbo-armed before the front doors of the theater. Yes, the plays constitute some of the sublimest heights of human expression, but Shakespeare could also tell a good fart joke. If we sometimes overlook that, it\u2019s because an aspic of expectation has embalmed the Bard. We don\u2019t simply watch the plays\u2014we bear witness, with the result that contemporary audiences can sit through entire performances with the kind of rigid composure better suited to being held at gunpoint.<\/p>\n

It wasn\u2019t always that way. Pick up Shakespeare in America<\/em>, an anthology published by the Library of America this month to coincide with the Bard\u2019s four hundred and fiftieth birthday today. A miscellany of poems, speeches, letters, and assorted ephemera, the book reminds us that, in this new England of ours, the admiration and appropriation of Shakespeare have most often been unabashedly demotic.<\/p>\n

One of the first selections is an epilogue to Coriolanus<\/em> by the Revolutionary War poet Jonathan M. Sewall. It was offered as an addendum to the play when it was performed for (and, perhaps, by) war-weary American troops stationed in Portsmouth, New Hampshire. Though Coriolanus<\/em> is often seen as a tale of liberty reaffirmed and loyalty rewarded, Sewall draws a parallel between the American troops\u2019 rebellion and that of the title character:<\/p>\n

A diff\u2019rent scene has been display\u2019d to night;
\nNo martyr bleeding in his country\u2019s right.
\nBut a majestic Roman, great and good,
\nDriv\u2019n by his country\u2019s base ingratitude,
\nFrom parent, wife, and offspring, whelm\u2019d in woe,
\nTo ask protection from a haughty foe:
\nTo arm for those he long in arms had brav\u2019d,
\nAnd stab that nation he so oft had sav\u2019d.<\/p><\/blockquote>\n

If Shakespeare was called upon to consecrate the divide between the colonies and home country, he could also split Americans. My favorite selection in Shakespeare in America<\/em> is an anonymous pamphlet describing New York\u2019s infamous Astor Place Riot of 1849. A simmering feud between the American actor Edwin Forrest and British thespian Charles Macready came to a head when Macready was invited to perform Macbeth<\/em> at the tony Astor Place Opera House. Across town, Forrest decided to put up the same play in the popular confines of the Broadway Theater. The dueling performances became a contest\u2014who were the rightful heirs of Shakespeare\u2019s legacy, the aristocrats or the people? The people, for their part, tried to hasten a decision by breaking up Macready\u2019s first performance: \u201cRotten eggs were thrown, pennies, and other missiles; and soon, still more outrageous demonstrations were made, and chairs were thrown from the upper part of the house so as to peril life.\u201d<\/p>\n

The performance, understandably, ended early. Yet Macready, undeterred and urged on by the city elite, agreed to a second performance three days later, one that would be guarded by hundreds of police and \u201cseveral regiments\u201d of the National Guard. They were needed: fifteen thousand people converged on the Opera House to disrupt the performance, and a battle ensued that saw over twenty people killed and scores more wounded.<\/p>\n

Though history doesn\u2019t tell of a similar contest on the other side of the pond, Shakespeare\u2019s plays there were hardly subdued events. The Globe itself was never so silent unless the theater had emptied, and patrons had no qualms about delivering parting shots to an especially poor performance. Like contemporary audiences for a Thor<\/em> movie, they had paid money for diversion and delight. Hamlet<\/em>\u2014even Hamlet<\/em>!\u2014was entertainment before it was art. Indeed, it survived as art only because it first excelled as entertainment. The unruly devotion of Elizabethan audiences preserved the plays for us, and the revelry of the uninitiated\u2014with its laughter, sighs, and shrieks of delight\u2014better approximates their humor than the gray liturgy of \u201cart appreciation.\u201d<\/p>\n

It also recalls what it must have been like at the first night of a new play, an encounter with something unknown and extraordinary. At the encore telecast\u2014I went, the Donmar production is superb\u2014I bumped into a friend. She knew little of Coriolanus<\/em>. She simply trusted the playwright and admired the leading man. They had entertained her before; it seemed safe to conclude they would do so again.<\/p>\n

We sat together in the oblong theater, under the cobalt colored ceiling where tiny lights twinkle to indicate the stars. I said nothing of what was to come, from the hugger-mugger over hungry bellies to war-by-other-means to, at last, the incarnadine conclusion. I wanted that experience of Shakespeare, if only vicarious, of something entirely unexpected. So we watched, and when the stage fell dark and the players assembled for a bow, we did what seemed natural: we cheered.<\/p>\n

The Donmar Warehouse production of <\/em>Coriolanus arrives in New York this weekend, at the IFC Center, which will host a screening on Sunday, April 27, at 11 A<\/small>.M<\/small>., and a second on Monday, April 28, at 6:30P<\/small>.M<\/small>. More information here<\/a>.<\/em><\/p>\n

John Paul Rollert is a writer in Chicago. His work has appeared in <\/em>The Los Angeles Review of Books, <\/em>Boston Review, and the<\/em> New York Times.<\/em><\/p>\n

 <\/p>\n","protected":false},"excerpt":{"rendered":"

Reclaiming the Bard for the common man. There was a time when attending a motion picture was not an occasion but an event. Most of the great movie houses that might remind us\u2014the Roxy in Times Square, Fox Theater in San Francisco, the Loews Palace in DC\u2014are long gone, but the Music Box remains. A […]<\/p>\n","protected":false},"author":684,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[419],"tags":[13653,9158,938,13650,13651,1050,948,13655,13652,44,13654],"class_list":["post-70203","post","type-post","status-publish","format-standard","hentry","category-arts-culture","tag-audiences","tag-birthdays","tag-chicago","tag-coriolanus","tag-donmar-warehouse","tag-london","tag-shakespeare","tag-simulcasts","tag-the-music-box","tag-theater","tag-tom-hiddleston"],"acf":[],"yoast_head":"\nShakespeare, Heartthrob<\/title>\n<meta name=\"description\" content=\"John Paul Rollert on reclaiming the Bard for the common man.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.theparisreview.org\/blog\/2014\/04\/23\/shakespeare-heartthrob\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Shakespeare, Heartthrob by John Paul Rollert\" \/>\n<meta property=\"og:description\" content=\"April 23, 2014 \u2013 Reclaiming the Bard for the common man. 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