Q&A August: Sam White of Shakespeare In Detroit

The only trouble with living in Michigan is that almost all my Shakespeare friends are elsewhere. I live in a little Shakespeare-less bubble, connected to my fellow Shakespeare geeks only through social media, with no local Shakespeare community to turn. Or at least that was the case until Melinda Hall, a New York based Shakespearean, volunteered to connect me with Sam White, the founder and artistic director of Shakespeare in Detroit, a homegrown Shakespeare company just 40 minutes down the interstate from me.

A few days later I was selling my wares at a local artist festival when I got an e-mail from Sam saying she was coming to see me. Sure enough, a short while later Sam bounded up to my table and introduced herself, and I’ve been a huge fan of her ever since. I’ve since gone to see as many Shakespeare in Detroit productions as I’ve been able to, including their production of the Play On! Twelfth Night translation, and I am so excited to see them transition to a permanent performance space in the coming years.

I am totally in awe of Sam. She wears so many hats (administrator, producer, director, educator, artist, author, entrepreneur, the list goes on and on) that even just thinking about all the things she’s juggling at any one time makes my brain want to shut down. It’s an overused cliche to call someone your hero, but she truly, genuinely is one of mine.

Take it away, Sam!

1. Who are you? Why Shakespeare?

I am Sam White. Shakespeare because my momma told me so. My mother introduced me to the Bard when I was 8 years old and that was the catalyst of my life's work which has manifested Shakespeare in Detroit. Rap music was not allowed in our home but books and theatre were absolutely loved and shared by mother, and so I inherited my love for Will because of her insistence to have her children think outside of the confines of our neighborhood and family dynamics.

Mya interjects: So, a few months after I first met Sam, she was interviewed on local TV about Shakespeare in Detroit, and talked about how she was introduced to Shakespeare. I was surprised and delighted to see what she had decided to wear for the interview:

2. What moment(s) in Shakespeare always make you laugh?

I laugh at a lot of moments in Shakespeare. I think Henry IV Part 1 is fun and hilarious to read and watch because of the antics between Hal and Falstaff. I love friends who know how to give each other a hard time but also love each other through hard times.

3. What's a favorite Shakespearean performance anecdote?

Hmmm. I am not sure. I think I am always blown away by the fact that I thought the only people that would show up for Shakespeare in Detroit's first performance would be my mother and a couple of stray squirrels at Grand Circus Park. The fact that 500 people showed up to see a performance of Othello always amuses me and makes me really grateful.

4. What's one of the more unusual Shakespearean interpretations you've either seen or would like to see?

I think I find traditional Shakespeare to be unusual. I am a huge proponent for classical work being very classical and period. But I like a few modern surprises in the work I see. For example, Will would've have used modern music in his shows if he were working today and I try to do the same no matter how many corsets or doublets are onstage. I think not being aware of the tastes and accessibility for new audiences is quite unusual.

5. What's one of your favorite Shakespearean "hidden gems"?

Cymbeline is underrated. I love a story about a woman loving who she wants and defying the patriarchy. I feel you, Imogen.

Mya interjects: I knew there was a reason I liked Sam! Yes, Cymbeline is TOTALLY a hidden gem, and Imogen is the gem in that play.

6. What passages from Shakespeare have stayed with you?

“In peace there's nothing so becomes a man as modest stillness and humility; but when the blast of war blows in our ears, then imitate the action of the tiger." That's my mantra, currently. I pick my battles wisely in art and business. Being a black woman, leading a classical arts organization, can be stressful and you receive a lot of, let's say, opinions from the old guard. I've learned what to ignore and what to fight for.

Mya interjects: Let’s not mince words here. The Shakespeare world is white. While many institutions are working hard to change that, it remains very, very white. When I’m consistently one of the only people of any percentage of color in a room, you know you’ve got a problem. I can’t emphasize to you how important it is for me to have discovered Shakespeare in Detroit, a classical arts organization that is not only lead by a woman of color, but whose staff and company are more often than not over half people of color. Keep imitating the action of the tiger, Sam.

7. What Shakespeare plays have changed for you?

I used to love Othello. I still do and I'll probably produce it again soon. But in many ways I get traumatized by it. I often feel like an "only" in my own classical world and the language punches me in the gut nowadays.

8. What Shakespearean character or characters do you identify the most with?

Imogen. I live by my own rules. I create what I want to create. I love who and what I love. And even when folks try to take that away from me, I always find my way back. Things always work out in Divine order. I love that woman! I should also say, I identify with Falstaff a bit as well. I am quite sarcastic and silly and I won't turn down a delicious cocktail.

9. Where can we find out more about you? Are there any projects/events you would like us to check out?

You can find out more about me and my work at shakespeareindetroit.com. We have a lot up our sleeves and that's the best way to stay in touch with us. You can also tweet us at @shakesinthed or me @detroitsamwhite.

(Back to Mya) Sam didn’t even scratch the surface of all the stuff she’s done and is currently doing, so I’m just going to have to trumpet some of her awesomeness here for her.

• Sam just directed the Utah Shakespeare Festival’s current production of Twelfth Night, which is running until September 7th.

• Last year she was assistant director for the Stratford Festival’s production of The Tempest, and the year before that she was the Nicholson Arts Management Fellow at the Oregon Shakespeare Festival.

• So, in case you’ve lost track, that means she’s worked at three of the biggest Shakespeare theatres in North America in the past three years, while simultaneously running Shakespeare in Detroit. NO BIG DEAL.

• She’s also on the advisory board for Statera Arts, a foundation working to address gender disparity in the arts.

• You can read more about Sam’s journey with Shakespeare in Detroit in this article from Forbes: Is Shakespeare the Key to Detroit’s Recovery? A interview with her also appears in Shakespeare Magazine, coincidentally right before an interview with me. We Michigan Shakespeare artists stick together!

• There are also a lot more interviews with Sam, both video and print, on the Shakespeare in Detroit press page.

• If you want to be cool, like me, you can support Shakespeare in Detroit on Patreon.

COMING NEXT WEEK: Two of my nearest and dearest Shakespeare friends and mentors: my Shakespeare Fairy Godfather and my indefatigable pocket dramaturg.

Q&A August: Kate Powers of the Redeeming Time Project

Q&A August continues! I first met Kate Powers at the opening reception of the 2016 Shakespeare Theatre Association conference. It was my very first STA conference and I was, needless to say, SUPER NERVOUS about suddenly being in a huge room with hundreds of top-notch Shakespeare experts, artists, administrators, and educators. I felt very much like an impostor and interloper: after all, I was just drawing these stupid little comics, while these people were making Shakespeare come to life, and were changing lives in the process.

I had heard of Kate’s phenomenal work with Rehabilitation Through the Arts at Sing Sing Correctional Facility, so I was already suitably intimidated when I was first introduced to her. However, she took one look at my name tag, said “Oh my god, you’re HER”, and then seized me by the arm and proceeded to lead me around the reception, introducing me to all manner of Shakespearean theatre luminaries and instantly incorporating me into the STA community. And that’s pretty much Kate in a nutshell for you: welcoming and supportive, absurdly generous with her time and energy, and never hesitating to help lift people up in any way she can. Over the past several years she has become a wonderful resource, correspondent, and friend, and I’m so excited to share her with you now.

Take it away, Kate!

1.  Who are you? Why Shakespeare?

I am a director, a text nerd, a prison theatre maker. I saw my first production of Shakespeare before anyone had a chance to tell me that this was going to be good for me, or that these people talk funny.  I was eight.  The play was in a park downtown; we had a picnic and a can of mosquito spray standing by as we watched Petruchio arrive (on a motorcycle, wearing leopard-print hot pants, as it happened) to wed Katharine.  I am sure that I missed a lot, but I had a great time. 

After a student matinee of my production of Measure for Measure at the Kansas City Rep in 2005, a girl asked at the post-show discussion, with great urgency, if Isabel was going to marry the Duke.  When I directed The Winter’s Tale at American Shakespeare Center, I spoke to a lady in the audience who was seeing her first-ever Shakespeare play.  She asked me if I had updated the language or if someone else had done it for me.  She was stunned when I told her that we had not changed a word.  “It’s crystal clear,” she exclaimed.  I am all about smashing up the cultural church of Shakespeare and starting the Shakespeare block party.

2.  What moment(s) in Shakespeare always make you laugh?

It’s cheap, but it is textually supported cheap. I laugh every time an actor playing Malvolio reads the letter, “If this fall into thy hand, revolve,” takes a beat, contemplates, and then turns in a circle. It’s not actually what the letter writer means (it means “consider,” essentially), but it doesn’t matter. I think you have written a strip about revolving Malvolios, (Mya interjects: I have!) and I would like someone to start a band called the Revolving Malvolios.

3.  What's a favorite Shakespearean performance anecdote?

I would probably have to go with Squirrel Butt Romeo.

Mya interjects: Kate is, of course, referring to the immortal anecdote that led to the creation of this comic:

4.  What's one of the more unusual Shakespearean interpretations you've either seen or would like to see?

I saw a Czech language production of Hamlet while I was in grad. school. The host at my B&B in Prague strongly discouraged me from going. I think he thought I would be upset when it wasn’t in English. I told him it was okay, that I was fairly familiar with the story. They cast Claudio much younger than I had previously seen. The late king’s much younger brother. He read like an older brother to Hamlet in some ways, and also, he was HOT. I suddenly understood “The king doth wake tonight and takes his rouse, / Keeps wassail and the swaggering upspring reels,” much more clearly, and I also could see the appeal, the sexy appeal, the temptation, the need to believe, for Gertrude.

The interpretation that I have seen far too often is the leather-clad Hamlet wielding an AK-47. Just. Don’t.

Mya interjects: OK, I have definitely seen leather-clad Hamlets, but Hamlet wielding an AK-47? What is that??

5. What passages from Shakespeare have stayed with you?

“It is required you do awake your faith” and “Let be” are perpetually in the front of my consciousness.

Mya interjects: I totally forgot about “Let be”. Is there a more powerful two-word quote in all of Shakespeare?

Right now I hear Sir Thomas More’s “mountainish inhumanity” speech to the rioting mob loudly and insistently:

“Grant them removed, and grant that this your noise
Hath chid down all the majesty of England;
Imagine that you see the wretched strangers,
Their babies at their backs and their poor luggage,
Plodding to th’ports and coasts for transportation,
And that you sit as kings in your desires,
Authority quite silent by your brawl,
And you in ruff of your opinions clothed;
What had you got? I’ll tell you. You had taught
How insolence and strong hand should prevail,
How order should be quelled; and by this pattern
Not one of you should live an aged man,
For other ruffians, as their fancies wrought,
With self same hand, self reasons, and self right,
Would shark on you, and men like ravenous fishes
Would feed on one another.”

6. What Shakespeare plays have changed for you?

Which ones haven’t?

Mya interjects: Touché…

 7. What Shakespearean character or characters do you identify the most with?

I pretty much am Beatrice, with a dash of Paulina. Very smart, very punny, often wielding my words as a weapon, tenacious, determined, protective of those around me, and also afraid of getting hurt, yet determined to speak, to name injustice when I see it. “I care not. It is an heretic that makes the fire.”

Mya interjects: The world needs more Paulinas, and the world needs more Kates.

 8. Where can we find out more about you? Are there any projects/events you would like us to check out?

I am the founder of the Redeeming Time Project. Our name comes from Hal’s speech in I Henry IV, “I’ll so offend to make offense a skill / Redeeming time when men think least I will.” We make theatre with men incarcerated in two Minnesota state prisons. I started doing this work over a decade ago with Rehabilitation Through the Arts in New York state.  We believe human beings are born inherently good, and we teach critical life skills (such as empathy, critical thinking, communication skills, teamwork, conflict resolution, goal setting, delayed gratification) through making theatre together. At Sing Sing Correctional Facility in 2016, while we were rehearsing Twelfth Night, one of the men said, “Shakespeare gave me words for emotions I didn’t know I had.”

The act of imagination required to play a character can become the spark of compassion that leads to empathy. One can learn empathy through the effort of performing a play, because one must ask, “What is it like to be this character? What is it like to walk in his shoes?” Through rehearsal room disagreements about the interpretation of a scene, or a line, one can learn to tolerate not just different points of view but also ambiguity itself. This newly acquired tolerance and wider understanding of human behavior helps cultivate patience and perspective.

Shakespeare teaches us what it means to be human, in all the nobility as well as all the depravity that it can entail. Again and again, he asks us, “What does it mean to be alive? How should we act? Who am I? What do I love?” Redeeming Time makes Shakespeare accessible to all, restores a voice to the silenced and voiceless, and explores the full complexity of the human condition.

Incarcerated individuals who study and perform Shakespeare challenge. They develop a passion for learning. They explore the full complexity of humanity through Shakespeare, reassessing their past and current choices, as well as their future options, as they do so. Although RTP will work with material written by other playwrights and authors, Shakespeare will always be the firm ground on which we stand.

Annoyingly, I couldn’t find a photo of me and Kate (we’ll have to remedy that ASAP, Kate), so here’s a photo of her with an upcoming Q&A August guest. Who is this international man of mystery? TUNE IN NEXT WEEK TO FIND OUT!

(Back to Mya) Thanks so much to Kate for taking the time to answer my questions! You can find out more about Kate and her excellent work here:

• plainKate.com

• The Redeeming Time Project

• @_plainkate_ on Twitter

Plus, you can hear Kate on several episodes of the Reduced Shakespeare Company Podcast:

• Episode 346: Theatre in Prison

• Episode 398: ‘Salesman’ Behind Bars

• Episode 498: Year of Shakespeare

• Episode 532: Shakespeare and Trump (also featuring yours truly)

• Episode 580: Redeeming Time Project

COMING THURSDAY: A fellow Michigander who just happens to be one of my personal Shakespearean superheroes!

Q&A August: Austin Tichenor of the Reduced Shakespeare Company

They say you should never meet your heroes, but obviously “they” were never enlightened enough to consider Austin Tichenor of the Reduced Shakespeare Company a hero. Like many Shakespeare geeks, I was exposed to Reduced Shakespeare Company’s performance of The Complete Works of William Shakespeare (abridged) at an impressionable young age. Once the DVD came out, I watched it over and over again, soaking up the irreverence and affection for Shakespeare like a sponge. It never occurred to me that I would one day meet the curly-haired pompous idiot in the black pants whose antics had entertained me so much, let alone be lucky enough to call him a friend, but that’s exactly what has happened.

I first met Austin (after exchanging mutually admiring tweets with him) in April of 2016, during the Reduced Shakespeare Company’s world premiere of William Shakespeare’s Long Lost First Play (abridged) at the Folger Library. I was prepared to be utterly starstruck, but Austin was so wonderfully down-to-earth that within minutes I felt like I’d known him forever. Totally lacking the pomposity and idiocy of his stage persona, Austin was overwhelmingly encouraging and supportive of my work, immediately welcoming me to play with him in the Shakespeare comedy sandbox. I had literally just started working full-time on Good Tickle Brain, so his enthusiasm meant the world to me.

I could gush about Austin for many more paragraphs, but I’m sure you’d rather hear from him, so here he is, my Comedy Fairy Godfather, in his own words!

1. Who are you? Why Shakespeare?

I’m Austin Tichenor, a playwright, director, and actor. I'm the co-artistic director of the Reduced Shakespeare Company, a three-person comic theatre troupe that reduces long serious topics into short silly comedies.

My first exposure to Shakespeare was undoubtedly in the original series of Star Trek! I read Shakespeare in high school English classes and got to see fantastic productions of Shakespeare at American Conservatory Theatre in San Francisco and the Berkeley Reprtory Theatre, but I didn’t get to actually WORK on Shakespeare until grad school where I both played Claudius in a production of Hamlet and reduced my first Shakespeare (it was a directorial exercise: a five minute reduction of Much Ado About Nothing). My first professional theatre job was creating plays for young people so I went to Shakespeare immediately, creating 45 minute cuttings of Much Ado, Midsummer, and The Tempest.

So the opportunity to join the RSC in 1992 and perform its signature work The Complete Works of William Shakespeare (abridged) (written by the RSC’s founders) in London’s West End for eight months combined all my theatrical loves: smart silly comedy, non-realistic theatricality, and Shakespeare — which is kinda redundant, now that I think about it

2. What moment(s) in Shakespeare always make you laugh?

My favorite moments are typically when characters make incredible discoveries about themselves, and these are usually comic. Malvolio’s “I am…happy!” Terrible actor Francis Flute fully committing to the moment on “Dead, my dove?” Benedick’s “There’s a double meaning in that.” Hamlet toying with Rosencrantz and Guildenstern, or telling Claudius he “shall nose” the dead Polonius as he goes upstairs. Olivia’s “Most wonderful!” when the penny drops and she realizes “Cesario” is actually Viola (and Sebastian’s twin).

3. What's a favorite Shakespearean performance anecdote?

I have two!

1) We were performing William Shakespeare’s Long Lost First Play (abridged) for the Shakespeare Theatre Association conference — the savviest and most knowledgeable group of people I’ll probably ever perform for, ever. I was playing Richard III and limping downstage to say my first line, one of the most famous first lines in all of Shakespeare. But I was distracted because I saw there were people sitting on the sides and I didn’t want to limp too far downstage for them to see — and in my distraction I said, “Now is the moment of our...” As soon as the word was out of my mouth, I knew I’d blown the line (it’s supposed to be “Now is the winter of our discontent”) and I knew I couldn’t pretend that it hadn’t happened; not in front of that crowd, not in our style of show. So I quite audibly said, “Oh f&$# me,” and limped back offstage to come in again. This time I said the line right and emphasized the first word: “Now is the winter of our discontent!” It brought down the house and everyone asked whether I’d planned it. Sigh…no, I hadn’t.

Mya interjects: I was in the house for this performance and this moment remains one of the highlights of my theatre-going career. What Austin neglects to mention here is that Reed, who had been left alone onstage after Austin had retreated, went over to the wings as if to confer with Austin, and said, sotto voce, “No, I don’t think anybody noticed.”

2) We were performing The Complete Works on a stage that had a little runway that circled the orchestra pit. In one of the scenes, Adam Long (one of the RSC’s founding members) decided to hop over the pit, from the stage to the runway, and he ended breaking the runway floor and falling through the boards. Thankfully uninjured, and delighted that he had this opportunity, he immediately uttered the immortal words, “Don’t worry, it’s just a stage I’m going through."

4. What's one of the more unusual Shakespearean interpretations you've either seen or would like to see?

I’m glad that nowhere in here have you asked what my favorite play is. I don’t have favorite Shakespeare plays, but I do have favorite productions. Here are two:

1) The Folger Theatre at the Folger Shakespeare Library in Washington DC’s production of Love’s Labor’s Lost was delightful from start to finish: Incredibly smart, wildly funny, and wonderfully charming. The director and her team made the King’s desire for “a little academe” quite literal by re-creating the Folger Library’s handsome reading room onstage. (I wrote about this terrific production here.)

2) The Chicago Shakespeare Company production of The Tempest, co-directed by Aaron Posner and the magician Teller, turned Prospero into an actual wizard and filled the production with literal magic. (There must have been magic in Shakespeare’s original production as the First Folio has a stage direction that mentions that characters disappear by means of “a quaint device”. Teller filled his production with many quaint magic tricks and devices!) With music by Tom Waits and great comedy from its clowns, it was the most entertaining and completely realized production of The Tempest I've ever seen.

Favorite moments?

• When Henry IV (Jeremy Irons) slaps his snotty son Prince Hal (Tom Hiddleston) in The Hollow Crown adaptation of Henry IV, Part 1 taking him (and the audience) by total surprise.

• When Francis Flute’s (Sam Rockwell) emotions bubble to the surface unexpectedly in the ridiculous “Pyramus and Thisbe” in the film version of Midsummer.

• When Juliet (Claire Danes) stirs and almost wakes up in time to prevent Romeo (Leonardo DiCaprio) from killing himself in Baz Lurhmann’s Romeo + Juliet.

• When Antigonus (Gregory Linington) distracted the Bear, dooming himself but preventing the death of Perdita, in the Goodman Theatre production of one of my least favorite plays The Winter’s Tale.

5. What's one of your favorite Shakespearean "hidden gems”?

The hidden gem of Shakespeare is actually right out in the open: He’s written incredibly theatrical plays, filled with rich and elusive characters that still fascinate us 400 years later, and even the most serious of his plays (including his Histories and especially his Tragedies) contain more comedy than is generally realized (or pulled off). Shakespeare was a showman whose livelihood depended on entertaining his audiences, so he created plays filled with music, devices, comic bits, fascinating characters, time jumps, changing perspectives, and shifting tones that are always serious (especially his Comedies) but never solemn.

(You don’t ask what my Shakespearean pet peeve but here it is: Productions that lack urgency and ignore the above, as in: Comedies that are beautiful-looking and melancholy but not funny. Histories that ignore the comic chaos that Shakespeare layers in. Tragedies that are one-note, over-the-top, and not in any way believable. Romances that equate pastoral with languid and not compelling. Argh.)

6. What passages from Shakespeare have stayed with you?

Oh so many...

• Beatrice’s “Kill Claudio,” which comes seemingly out of the blue and yet is so right.

• Falstaff’s honor speech, when done right, in front of a live audience.

• And I find Miranda’s “O brave new world that hath such people in’t” just incredibly moving. (I’m always moved by Joy. Tragedy can suck it.)

Mya interjects: “Tragedy can suck it” might be my new personal motto now. Thanks, Austin.

7. What Shakespeare plays have changed for you?

Henry VI, Part 1. Reading it again recently, I was struck by the level of chaos Shakespeare depicts in a kingdom struggling without a ruler. It’s almost like Monty Python meets Veep: Sentences can’t get finished because people are running in and out, declaring “I’m in charge! I’m in charge!” with grand impotence. Of course Shakespeare would write it like that: He needed to entertain his audience, who were probably also nervous about their aging queen who had yet to declare a successor. Shakespeare created a chaotic warning that England shouldn’t descend into that kind of comically dangerous madness again — a warning that wasn’t really heeded, unfortunately.

8. What Shakespearean character or characters do you identify the most with?

Having played so many of them (albeit in reduced forms), that’s a tough call. But because I’m also an actor and a playwright, the ones I probably identify with the most are Shakespeare's seemingly autobiographical ones: Peter Quince, the only (I think) actor-playwright in the canon. Hamlet, the Danish prince with surprisingly strong opinions about theatre’s power and how certain speeches should be played (and how annoying comedians can be). Benedick, who struggles with his writing so comically. Suffolk, who in Henry VI, Part 1 declares, “I’ll call for pen and ink and write my mind.” And Bottom, of course, who thinks he can play anything.

Mya interjects: PETER QUINCES OF THE WORLD, UNITE!

9. Where can we find out more about you? Are there any projects/events you would like us to check out?

I’ve spent the last several years doing incredibly deep dives into Shakespeare, across many media:

• My RSC partner Reed Martin and I wrote Pop-Up Shakespeare, an incredibly fun (and useful) introduction to the Bard’s life and works with beautiful, amazing, and funny illustrations by Jennie Maizels.

• I contribute monthly essays about the intersection between Shakespeare and popular culture for the Folger Shakespeare Library’s Shakespeare & Beyond blog.

• My weekly podcast (now in its 13th year) is a backstage glimpse into the life and works of the Reduced Shakespeare Company, featuring interviews with our many comedian, actor, playwright, author, director, composer, dramaturg, and artist friends and many many deep dives into matters Shakespearean.

• Reed and I also wrote the definitive irreverent reference book, Reduced Shakespeare: The Complete Guide for the Attention-Impaired (abridged), which is still inexplicably in print (perhaps cuz it’s definitive).

• We also wrote the stage play William Shakespeare’s Long Lost First Play (abridged) (“An absolute resolute hoot of a bawdy comedy of errors!” Broadway World), which premiered at the Folger Theatre in 2016, has toured the US and the UK, and is available for licensing via Broadway Play Publishing.

• And in November 2019, the RSC will perform the international premiere in Israel of our brand new script Hamlet’s Big Adventure (a prequel) — what would happen if Tom Stoppard wrote Muppet Babies. It’s the comedy of the Prince of Denmark!

If after reading all this, for some insane reason you still want to get in touch, come find me here on Twitter. I think Mya will agree that it’s a much more civilized and fun place than its reputation suggests.

(Back to Mya) Thanks so much to Austin for taking the time to answer my questions! If you want to HEAR us actually talking to each other check out :

• Reduced Shakespeare Co. Podcast #493

• Reduced Shakespeare Co. Podcast #532

• Reduced Shakespeare Co. Podcast #653

COMING NEXT WEEK: Two phenomenal women who are using Shakespeare to build the most amazing things!

Q&A August: Me, Myself, and I

Hey everyone! I’m back from my break! Well… sort of. Various personal crises and professional obligations have reared their heads, and I need to take some time to work them all out. Fortunately, I have lots of amazingly generous Shakespeare friends who have agreed to help me out by answering some (hopefully) fun questions about Shakespeare and themselves.

Now, I try never to ask anyone to do something I would not do, so I’m going first.

1. Who are you? Why Shakespeare

I'm Mya Gosling, the artist and author of Good Tickle Brain, the world's foremost and possibly only stick figure Shakespeare webcomic. (But, since you're reading this, you probably already knew that...) My love of Shakespeare started when I was around 10 years old and my father showed me the Laurence Olivier film of Henry V. Since then I've been fortunate enough to see almost all of Shakespeare's plays performed live. For the past six years I've been sharing my love of Shakespeare with people through the incongruous medium of stick figure comics. My attitude towards Shakespeare can be summarized in two main points: a) he's a lot of fun, and b) don't take him too seriously.

2. What moment(s) in Shakespeare always make you laugh?

In the middle of the chaotic final scene of Cymbeline, in which about a dozen improbable dangling plot threads are being improbably resolved by a series of improbable revelations, the Doctor pipes up with the line "O gods! I left out one thing..." It's a line that, while not funny in and of itself, is absolutely hysterical in context and never fails to make me laugh.

3. What's a favorite Shakespearean performance anecdote?

I saw a local university production of Much Ado About Nothing where the actor playing Claudio had come down with a nasty stomach bug. There were no understudies, so the actor playing the Sexton was drafted to step in. He wandered around the stage, clutching the script binder like a life raft and exuding a genuine insecurity that made his hapless Claudio much more sympathetic than usual.

I spent the entire first two acts waiting eagerly for Beatrice to say "Speak, Count, 'tis your cue." It was an appropriately cathartic meta-theatrical moment.

4. What's one of the more unusual Shakespearean interpretations you've either seen or would like to see?

I was lucky enough to see the RSC's current production of The Taming of the Shrew, which is set in an Elizabethan matriarchy with an almost entirely gender-flipped cast (Petruchio is played as a woman by a woman, Kate is played as a man by a man, etc.). It was very well done, and surprisingly thought provoking on a number of levels that I did not expect. Even the way the costumes were used, with the women's large dresses not being seen as encumbrances but rather a means for them to physically take up more space (i.e. woman-spreading), was fascinating. I’d like to see more productions play around with the gender of characters and see what effect it has.

5. What's one of your favorite Shakespearean "hidden gems"?

He’s not hidden, and he’s definitely not a gem, but I’ve had a character crush on Hotspur ever since I first saw Henry IV part 1 back in 2001. Objectively, he’s a totally thoughtless and impulsive jerk, but he’s so charismatic and compelling and entertaining that he just completely carries me away. I’m mature enough now to realize he’d be absolutely terrible for me, but I’m still carrying a tiny torch for that gunpowder Percy.

6. What passages from Shakespeare have stayed with you?

This is awfully cliched, but one of the first bits of Shakespeare that I committed to memory was the opening chorus from Henry V: "O for a muse of fire, etc. etc." How can you not fall in love with a paean to the imagination? The ability to conjure something out of nothing has always excited and inspired me, and this speech so perfectly encapsulates the imaginative and collaborative magic not only of theatre, but of any creative profession.

(The Salic Law speech, which I memorized when I first started this comic back in 2016, has also stayed with me, mostly because it's a great party piece, if also an unfortunately effective way to get people to punch you in the face.)

7. What Shakespeare plays have changed for you?

From first impression to most recent impression, the play that has changed the most for me over the years is The Winter's Tale. I really didn't like it the first time I saw it: Leontes was obviously an irredeemably horrible character, so I didn't see why I should care about him getting an undeserved happy ending, plus the Bohemia bits were interminable and pointless. However, each successive time I've seen it, a little bit more of its magic has been unlocked for me. I still think the Bohemia bits are interminable and pointless, and that Autolycus is an immensely overrated and tiresome character, but the hope and forgiveness permeating the latter half of the play is starting to melt my stony heart. I still don't love it, and I may never love it, but I appreciate it more and more every time I encounter it.

8. What Shakespearean character or characters do you identify the most with?

Recently I've identified very strongly with Peter Quince. All he wants to do is entertain people, but nothing quite works out the way he's planned, and it looks like everything is going to be a disaster, and he's very worried and stressed out all the time, but in the end he (inadvertently) produces a work of comic genius. I relate very strongly to all of that. I have aspirations to be a Beatrice, but honestly compels me to admit that I am not.

9. Where can we find out more about you? Are there any projects/events you would like us to check out?

If you’re reading this, you already know all about me! But if you’re interested in supporting my work, head over to Patreon. Also, be sure to follow me on Facebook, Twitter, Instagram, and Tumblr, if you happen to be on any of those platforms.

COMING THURSDAY: You’ve almost certainly seen him in (very fast) action, making a professional fool of himself. It’s my Comedy Fairy Godfather!

Titus Andronicus: All The Deaths

If it seems to you like I revisit the death toll of Titus Andronicus with disproportionate frequency… you’re right, and that’s because it will never not be hilarious. Here’s a video of me methodically illustrating all of them. (One of my pens started to run out of ink partway through, but fortunately it wasn’t my red pen.)

This video comes to you courtesy of all my awesome supporters over at Patreon. Thanks to all of them for helping make it possible for me to do what is, objectively, a dream job.

I’m taking the next two weeks off! Enjoy your summers and I’ll see you back here in August.

South Pacific

Quick break from Shakespeare today to relate one of my most embarrassing theatrical oversights.

This comic appears courtesy of my supporters on Patreon! Thanks to all of them for helping make it possible for me to spend my time drawing Shakespeare stick figure comics.

The Crew of the U.S.S. Shakespeare

I’m a huge Star Trek nerd, and, as I am in the midst of a long-running TNG/DS9/VOY rewatch project, it seemed only natural to figure out which Shakespearean characters would make the ideal Federation starship crew. Here are my (totally non-definitive) picks:

CAPTAIN HENRY V: This one is kind of a no-brainer. The captain has to be decisive, able to command with a mixture of compassion and discipline, inspire loyalty in his crew, and accept ultimate responsibility for the ship. Henry V ticks all those boxes.

FIRST OFFICER ROSALIND: Rosalind’s ability to manage numerous moving parts and get people to do exactly what she wants them to make her an excellent choice for first officer. A natural leader, she stands ready to take over should the captain be incapacitated, and also will not hesitate to call the captain out if she thinks he is making a mistake.

COUNSELOR PAULINA: Paulina is not your touchy-feely empathic counselor. She is a no-nonsense problem solver. If you are having a problem, she will fix it. It might not be a pleasant experience for anyone involved, but you will come out the other side a better person. Probably.

OPERATIONS OFFICER ARIEL: Nobody is quite sure exactly what it is the operations officer does, but the bottom line is that he’s responsible for keeping the ship running smoothly. The airy spirit Ariel is more than capable of monitoring all of the starship’s complex systems and addressing any problems before they get too troublesome.

CHIEF ENGINEER PORTIA: The chief engineer of a starship has to be a consummate problem solver, able to quickly adapt to rapidly changing circumstances and come up with innovative and effective solutions. All this leads to Portia—the one from The Merchant of Venice—who is constantly overcoming obstacles in unexpected ways. If there’s a loophole in the laws of physics, she will find it.

TACTICAL OFFICER & SECURITY CHIEF CORIOLANUS: Battles must be won! Order must be maintained! Coriolanus’s single-minded adherence to those two maxims make him the ideal tactical officer and security chief. Fortunately for him, his excellence in those fields balances out his total lack of interpersonal skills and objectively objectionable personality.

MEDICAL OFFICER HELENA: She’s still relatively junior, but Helena—the one from All’s Well That Ends Well— shows great promise as a doctor. Able to blend established practices with new technological and pharmacological innovations, she is on the cutting edge of medical research, and does her best to keep her crew healthy.

HELMSMAN PERICLES: Pericles is more at home sailing between the stars than he is on the ground. OK, one time he piloted a starship into a gravimetric distortion and ended up having to abandon ship, but that was a while ago, and he’s got the hang of it now. Honestly.

SCIENCE OFFICER FRIAR LAURENCE: Friar Laurence is an avid xenobotanist. Nothing makes him happier than collecting plant samples from alien planets and then conducting weird experiments in his lab. He was demoted to ensign after the infamous Sleeping Death Replicator Virus incident, but he’s promised not to make that mistake again.

Thanks to my Shakespeare consultant Kate Pitt and my Star Trek consultant (and Star Trek re-watching buddy) James for letting me bounce these extremely nerdy ideas off of them.

Malvolio's Revolve

The joy of Shakespeare is that even if you see the same play dozens of times, each production is its own, unique experience.

Having said that… there are certain bits of stage business that often crop up in numerous productions. One of my favorites is Malvolio’s revolve.

Just for fun, here are various examples of Malvolio’s revolve that have been captured on film:

Alec Guinness in the 1970 ITV Saturday Night Theatre production does the classic dubious, self-conscious revolve, although Sir Toby and his gang are safely behind a hedge and don’t have to hide.

Nicholas Pennell in this 1986 filmed production at the Stratford Festival of Canada executes a confident and rarely-seen double revolve, forcing his peanut gallery to duck out of sight.

In this filmed version of the Renaissance Theatre Company’s 1988 production, Richard Briers executes a very slow , dubious revolve that is notable for being counter-clockwise. In my experience, most Malvolios revolve in a clockwise direction.

Finally, this Stratford Festival production milks the revolve for all it’s worth, with Tom Rooney’s Malvolio turning at just the right speed to miss Sir Andrew’s desperate dash across the stage.

Some productions choose to have Malvolio turn the letter around, rather than himself. Others either blow past the line without acknowledging its comedic gag potential, or cut it in its entirety. All are valid choices, but honestly… why look a gift gag in the mouth?