In this episode, we talk about the advantages of doing Twelfth Night on stage, through the lens of the 2012 Shakespeare's Globe production starring Mark Rylance (directed by Tim Carroll). We make some comparisons with Trevor Nunn's 1996 film to illuminate the advantages of the Globe's production.For detailed show notes, visit: http://21stfolio.com/2016/06/02/ep-10-twelfth-night-stage/ ‎00:00–00:50 Intro00:50–4:31 Where scenes are set in the Nunn film4:31–9:42 Trap doors and spatial metaphors on stage9:42-11:44 Thrust stages, proscenium stages, and how Twelfth Night works in different theatrical spaces11:44- 14:37 How did the Globe production work as a recording? 14:37–19:54 How do you capture these landmark productions for posterity when interaction with the audience is so key?19:54–23:27 Things that only work on stage & the problem with dealing with soliloquies23:27–24:11 OutroHost: Alex Heeney (@bwestcineaste)Guests: Dan Beaulieu (@DanBeauKnows), Caitlin Merriman (@CaitlinSnark), Craig Ruttan (@crut)Sound recordist and editor: Cam White (@JediDusk)Follow us on Twitter @21stFolio. For more information about the podcast, visit http://21stfolio.com

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Through the lens of Trevor Nunn's 1996 film and the 2012 Globe Production of TWELFTH NIGHT (which we discuss in ep. 8), we ask: What is the difference between doing Shakespeare on film vs stage? What do we look for in a good production of each? And what can you only do on stage or screen?For detailed show notes, visit http://21stfolio.com/2016/05/31/ep-9-twelfth-night-stage-vs-film/00:00–0:50 Intro00:50–10:10 When you hear Shakespeare on film, what does that mean to you? 10:10–14:36 The role of the director in stage vs film14:36–23:50 The role of the audience23:50–26:55 The control you have on film…and the influence of a theatre background on filmmaking choices26:55–34:10 Did you find the revelations of character more subtle or more aggressive in the film or the stage production? 34:10-34:45 OutroHost: Alex Heeney (@bwestcineaste)Guests: Dan Beaulieu (@DanBeauKnows, Caitlin Merriman (@CaitlinSnark), Craig Ruttan (@crut)Sound recordist and editor: Cam White (@JediDusk)Follow us on Twitter @21stFolio. For more information, visit http://21stfolio.com

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We continue our discussion of the 2012 Globe Production (starring Mark Rylance)of Twelfth Night and Trevor Nunn's 1996 film adaptation of the play. In part two of our discussion, we focus on Malvolio, Maria, and melancholy in the two productions. This is the second of four parts. For detailed show notes visit http://21stfolio.com/2016/05/24/ep-8-twelfth-night/0:00–0:51 Intro0:51–10:51 Violence, melancholy, and Malvolio10:51–16:35 Nuance and subtlety in the Nunn film16:35–18:10 Maria steals the show at the Globe18:10–25:47 Approaches to status — Maria, Sir Toby25:47–26:30 OutroHost: Alex Heeney (@bwestcineaste)Guests: Dan Beaulieu (@DanBeauKnows), Caitlin Merriman (@CaitlinSnark), Craig Ruttan (@Crut)Sound recordist and editor: Cam White (@JediDusk)Follow us on Twitter @21stFolio. For more information about the podcast, visit http://21stfolio.com

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In this episode, we discuss Trevor Nunn's 1996 film adaptation of Twelfth Night and the 2012 recording of the Globe Theatre production with an all-male case (starring Mark Rylance as Olivia, directed by Tim Carroll). For detailed show notes, visit: http://21stfolio.com/2016/05/24/ep-8-twelfth-night/00:00–1:13 Intro1:13–2:06 Guest intros2:06–8:36 Initial thoughts8:37–33:08 Who is the central character in the Nunn film: Feste or Viola?33:08–46:15 Performance of gender and the queer undertones46:15–52:30 Interpretations of Olivia52:30–53:14 OutroHost: Alex Heeney (@bwestcineaste)Guests: Dan Beaulieu (@DanBeauKnows), Caitlin Merriman (@CaitlinSnark), Craig Ruttan (@crut)Sound recordist and editor: Cam White (@JediDusk)Follow us on Twitter @21stFolioFor more information, visit: http://21stfolio.com

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This is the second half of our discussion about Greg Doran's film adaptation of his RSC Hamlet production starring David Tennant. For detailed show notes, visit: http://www.seventh-row.com/2016/05/06/ep-7-hamlet-david-tennant/Follow us on Twitter @21stFolio. Find us online at http://seventh-row.comHost: Alex Heeney (@bwestcineaste)Guests: Noemi Berkowitz (@noemiola), Caitlin Merriman (@CaitlinSnark), Mary Angela Rowe (@lapsedvictorian), Craig Ruttan (@crut)Sound recordist and editor: Cam White (@JediDusk)00:00–0:50 Intro0:50–7:50 Ophelia’s madness - why does she always have to be naked when she’s crazy7:51–14:24 Keeping up appearances, how everyone is performing for everyone else in this world, and the surveillance state14:24–30:59 A controlled, diplomatic Polonius, the great Patrick Stewart, and David Tennant's performance31:00–39:35 The problems with Horatio, the need for a dispassionate observer, and the role of the camera39:35–55:50 How does this "hybrid" film/play production work as a means of capturing theatre?55:50–1:05:02 The humour in the production and the Hamlet/Polonius relationship1:05:02–1:07:52 Sign-offs, the Yorick skull story, and outro

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In this episode, we discuss Greg Doran's film version of his RSC production of Hamlet starring David Tennant. The production is currently available to stream on PBS.org in the US.For detailed show notes, visit http://www.seventh-row.com/2016/05/06/ep-7-hamlet-david-tennant/00:00–1:58 Intro1:58–7:00 Initial thoughts on the production7:00–11:23 Claudius in Act IV & Act V and the worldbuilding in the production11:23–21:04 Translating the play into a hybrid film of the play (the sets, the cameras within the production, breaking the fourth wall)21:04–31:05 Incest-y things: Laertes-Opehla and Hamlet-Gertrude31:06–36:33 The Laertes-Ophelia-Polonius family unit36:35–42:40 Denmark is a Prison? + Rearranging Act 2 & 3 (and the “To be or not to be” speech)42:40–49:40 Excising (almost all of) Fortinbras and cuts to Horatio’s scenes49:40:–1:00:06 Women in the production1:00:06–1:00:50 OutroHost: Alex Heeney (@bwestcineaste)Guests: Noemi Berkowitz (@noemiola), Caitlin Merriman (@CaitlinSnark), Mary Angela Rowe (@lapsedvictorian), Craig Ruttan (@crut)Sound recordist and editor: Cam White (@JediDusk)Follow us on Twitter @21stFolio. Find us online at http://seventh-row.com/21st-folio

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In this very special bonus episode, we interview Maxine Peake about playing Hamlet in the Royal Manchester Exchange production of Hamlet (2014/2015), which was recorded on film. The film of the production will be screening across the U.S. this week (mostly on May 2). To find a theatre near you. visit: http://www.hamletmaxinepeake.comFor detailed show notes, visit: http://www.seventh-row.com/2016/05/02/interview-maxine-peake-hamlet/Follow the 21st Folio on Twitter @21stFolio. Host: Alex Heeney (@bwestcineaste)Interviewers: Caitlin Merriman (@CaitlinSnark) and Laura Anne Harris with questions contributed by Lesley Peterson.Sound recordist and editor: Cam White (@JediDusk)00:00–3:13 Introductions3:15–5:08 How did being a woman playing Hamlet as a man (in a production with roles that are gender-swapped) affect Peake's interpretation of Hamlet?5:08–6:25 How did Peake decide to play Hamlet as trans?6:25–8:11 How did the decision to gender-swap some of the characters come about?8:12—11:05 What is the difference between tackling Hamlet when there’s so much text to play with compared with so many female characters (like Ophelia) in Shakespeare where there’s so little and so much of it is what you’re bringing to the role?11:05–13:05 How much discussion did you have with your director about using your sexuality as a tactic in the play?13:05–14:22 How did you feel about moving the ‘to be’ speech to Act 4?14:22–16:56 How important do you think it is for theatre companies to open more opportunities to play famous Shakespearean characters?16:56–17:51 Are there other male parts you’re now itching to play?17:51–20:27 What was your experience of audience interaction and your performance?20:27–22:40 How did doing the play in the theatre in the round at the Exchange affect things?22:40–24:47 How did having cameras in the theatre for the filmed version change the performance or your experience of it?24:47–26:33 There are a few line readings in your performance that are different from the traditional ones. How did these come about?26:34–29:05 How did you develop Hamlet as a 21st century character?29:05–31:01 How did the decision to do the lines so quickly at the beginning come apart and how did that affect you physically?31:02–33:11 At some point, it slows down. How did you decide where and how to slow down?33:11–35:40 Because the second half is so difficult, what was the strategy for tackling that in rehearsal?35:40–37:35 How did you prepare for the part before rehearsals began?37:35–40:18 How did you find the performance changed across the 7-week run?40:18–42:18 How did you decide to cut Fortinbras?42:18–44:57 How did you edit the Michael Grandage script you were working from?44:58–47:21 What was the backstory between Horatio and Hamlet in your production?47:30–48:45 Closing comments and outro

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This is the 2nd part of our discussion of the film version (dir. Margaret Williams) of the Manchester Royal Exchange Theatre's HAMLET (dir. Sarah Frankcom) starring Peake as Hamlet.Host: Alex Heeney (@bwestcineaste)Guests: Laura Anne Harris, Caitlin Merriman (@CaitlinSnark), Lesley PetersonSound recordist and editor: Cam White (@JediDusk)00:00–0:50 Intro0:50–8:12 Hamlet Sr. The Ghost8:12–12:28 The fishmonger scene12:28–30:00 Gender-swapping in the production30:00–41:27 Using accents as a shorthand in Shakespeare productions41:27–50:30 The Hamlet/Ophelia relationship50:30-58:50 The theatre in the round and how it works58:50–1:10:48 Filming the production for the screen

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In the first part of episode 6, we'll be discussing the film version (dir. Margaret Williams) of the Manchester's Royal Exchange Theatre's 2014/2015 HAMLET(dir. Sarah Frankcom) starring Maxine Peake as the Danish Prince. The production features several gender-swapped characters, including Polonia and Marcella, and features a stage completely surrounded by the audience.Host: Alex Heeney (@bwestcineaste)Guests: Laura Anne Harris (http://lauraanneharris.com), Caitlin Merriman (@CaitlinSnark), and Lesley PetersonEditor and Sound Recordist: Cam White (@JediDusk)Follow us on Twitter @21stFolio.For detailed show notes visit: http://www.seventh-row.com/2016/04/24/ep-6-maxine-peake-hamlet/For more information on the podcast, visit: http://seventh-row.com/21st-folio0:00–2:36: Intro, Addendums to Ep. 5 on Coriolanus, Shakespeare 400 announcements2:36–3:13: How to see the Maxine Peake production3:14–10:30: Guest introductions and first impressions of the production10:30–17:00: Innovations in line readings, including pacing17:00–19:42: Hamlet's madness and his dumb plans19:42–28:00: Where does "To be or not to be" belong anyway?28:00–32:00: Making Act IV work and Hamlet's trip to England32:00–41:30: Staging Act I Scene 2 around the dinner table41:30–53:30: Polonia, the gender-swapped Polonius53:30–55:00: Claudius, the wet noodle, and his relationship with Polonia and Gertrude55:00–1:02:34: Costumes! And clothing! And virginity! Oh my!1:02:34–1:06:20: Why did they rip the mat up off the stage?1:06:20–1:10:20: Bird's eye views of the stage and actors1:10:20–1:11:04: Outro

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In the second part of our CORIOLANUS discussion, which pits Fiennes against Hiddleston, we discuss the importance of physicality in the productions, Corfidius, Coriolanus' death, how the productions were shot, and what's with all the fight scenes?Host: Alex Heeney (@bwestcineaste)Guests: Danny Bowes (@bybowes), Jeremy Mongeau (@JeremyMonjo), and Mary Angela Rowe (@lapsedvictorian)Follow us on Twitter @21stFolio.For detailed show notes, visit: http://www.seventh-row.com/2016/04/17/21st-folio-coriolanus-ep-5/For more information about the podcast, visit: http://seventh-row.com/21st-folio

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