Best of 2011-2012 (Spring Awakening)

I wrote an article for Minnesota Playlist’s “Best of 2011-2012″ series, detailing my opinion of Theatre Latte Da and the University of Minnesota’s co-production of Spring Awakening.

You can read the article here

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On the Interpretation of Stage Directions

Minnesota Playlist asked me to write an article covering something I felt strongly about, so I wrote an article on the interpretation of stage directions.

You can read the article here.

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Bardolatry

There’s this new movie coming out, Anonymous, which will give Shakespearean authorship hypothesists something to gad about for a few more years. You can watch the trailer here.

I respect that the story of Edward De Vere is extremely movie-worthy, and in retrospect it’s sort of surprising that it took this long for the Shakespeare authorship debate to make it to the screen. Personally, I can’t allow myself to believe that anyone other than William Shakespeare himself (and an occasional playwright collaborator) actually wrote the plays. Moreover, I’m actually sort of offended by the idea that others believe someone else wrote them — which probably says more about me than it does about the debate. Let me quickly summarize the history of the Shakespeare authorship debate:

After his death in 1616, Shakespeare’s works were collected and published all together as a single edition. This was something of an anomaly for the era, but it was undertaken by several members of the King’s Men who personally held the work in high regard (and if the introduction is any indication, also Shakespeare himself). These works were occasionally performed after his death, but had already ebbed out of popularity by the time the stages were shut down in 1640. After the restoration, Shakespeare’s works were occasionally performed – but they were hardly the preeminent gems of the English canon. It wasn’t until David Garrick staged a “Shakespeare Jubilee” in the mid-1700s that Shakespeare became the benchmark author for classical actors to strut their stuff. From then on Shakespeare rose steadily in the public esteem until the late 19th century when his works were considered the Greatest Plays in the English Language. The term Bardolatry was coined to describe this fervor. Shakespeare was regularly performed on stages across the English-speaking world. But notably, the obsession with Shakespeare was principally one of the middle classes, and used to some extent as a status symbol. Well-rounded families read Shakespeare together. Middle class families attended the theatre, and had debates about the different actors in the roles. The quality of a city was judged by whether it had a theatre suitable for touring players to perform in. Shakespeare nestled very nicely into the rise of the Victorian moral aesthetic and the growth of the middle class, and his influence can be found in many (or most) author’s works from that era.

It was in this fervent pro-Shakespeare environment that the authorship debate first emerged. In 1856 Putnam’s Monthly published the article by Delia Bacon called “William Shakspeare and His Plays; An Enquiry Concerning Them” which proposed Francis Bacon as the author of the work. Delia Bacon was not a trained scholar, and the academic community treated the work as something of a joke – but nevertheless the idea took hold. Francis Bacon was held in high esteem by the Victorian world, and other popular books at the time were attacking the authorship of the Bible and Homer’s The Odyssey. Delia Bacon’s article was followed by other works of pop-speculation. These works were repeatedly followed by criticism from the academic community for lazy scholarship, logical flaws, and false conclusions, but in the popular consciousness the genie was out of the bottle. Things probably reached their greatest head in 1893, when someone published a cipher-wheel claiming that he had decoded Francis Bacon’s autobiography WITHIN the complete works of William Shakespeare. (Turns out when you decode each letter separately you can get any result you want.) Trials were held to debate the authorship question, and all-in-all everything got a bit silly and out-of-control. Support for Bacon waned as the 19th century ended, and Edward De Vere was put forward as a golden calf to take his place.

In some ways, it was sort of inevitable. Shakespeare’s rise as English’ Greatest Author was a by-product of Victorian morality, so just as Darwin’s theories had assaulted the bible and Marx’ theories assaulted the imperialist class structure, it seems only natural that Shakespeare should also be put under attack. In many ways the debates are about social class. It is argued that a young traveling actor from the provinces could not have written the greatest works of the English language. It is unfathomable for some people to believe that a theatre manager without higher-university training, powerful connections, or a place in the court would have had the resources and ability to write such excellent plays through sheer practice and imagination.

But I have to believe that he could.

[originally posted to The King Is Dead production blog]

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Drakul Interview w. Sheila Regan

Last month Sheila Regan asked me some questions about Walking Shadow’s production of Drakul.  As the article they were intended for never went to press, I have received her permission to reprint them here.  Thanks and enjoy! – John

 

SHEILA REGAN: You seem to work a lot from Classical texts – what is it about them that draws you?

JOHN HEIMBUCH: I’ve done a fair number of adaptations and a few other works that rely heavily on historical time periods.  I really enjoy playing with people’s expectations about our world and adapting classic texts is a great way to do that because we build such strong mythologies around these stories.  I mean, how many different versions of Dracula are there?  Even if we consider Bram Stoker’s novel the definitive version, everyone coming into the theatre is still going to have very different ideas of what that story is.  I like embracing, teasing, and overturning those ideas.  I hope other people enjoy that as much as I do.

REGAN: Has your work been produced by other companies other than Walking Shadow? Have you gotten any awards or grants for your writing?

HEIMBUCH: Besides the work that I’ve done in conjunction with director Jon Ferguson and Hardcover Theater, two of my plays that started with Walking Shadow have had a decent life outside of our company.  Specifically 10-Speed Revolution (staged twice in New York and once at Carleton College) and William Shakespeare’s Land of the Dead (with productions in Philadelphia, Cleveland, Edina, and Fairbanks). So far I haven’t received any specific awards, so I just keep reminding myself that writing is its own reward.

REGAN: What are the benefits/disadvantages to producing your own work through Walking Shadow?

HEIMBUCH: Walking Shadow gives me a lot of freedom as an artist.  When I say “I want to do a show about X” it’s a powerful feeling to have the support of this company to accomplish whatever that vision is, no matter how peculiar – and to know that there are talented artists who will be eager to bring that vision to the stage.  Of course, we’re still a small company, so we’re often pushing the envelope of what we can accomplish production-wise.  Naturally, this forces us to be innovative about how we handle problems – but I suppose that’s just part of the fun.

REGAN: The press release said that the show highlights some of the fantastical/speculative elements – could you tell me more about that?

HEIMBUCH: This version of Dracula is actually much less about the fantastical elements than most adaptations are.  Instead of focusing on the epic aspects of the story, this version looks at the inner lives of characters dealing with supernatural events – and the impact it has on their relationships. The original story is very rooted in Victorian middle class morality, my version takes that morality and introduces an element of hypocrisy. Just like real people, every character has their own deceits and desires that plague them, even when heroically fighting the supernatural.  As you might imagine, the actors have been doing some really excellent work with this material.

REGAN: How is the plot different in your play from the book?

HEIMBUCH: Drakul explores what happens to the characters when their original notes about defeating the Count are published by Bram Stoker without their knowledge.  As they attempt to figure out why the book was published, they think back on the events that brought them to where they are – allowing both stories to unfold simultaneously.  In most versions we assume that once Dracula is killed everything will be fine, but when horrific things happen in the real world we often have to deal with the repercussions for the rest of our lives.  I think there’s something very powerful about that idea.  Other than that, it follows the events of the book pretty accurately – with a few added twists.

REGAN: Anything else important I should know about the show?

HEIMBUCH: Only that it’s going to be about 3 hours long and tickets are selling well.  Thanks for the questions!

(photo from Nosferatu, the original adaptation of Dracula)

(photo from Nosferatu, the original adaptation of Dracula)
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