Showing posts with label William Shakespeare. Show all posts
Showing posts with label William Shakespeare. Show all posts

Sunday, June 29, 2025

A Bad Very Bad Day at the Wooden O When a Prop Went Wrong

    

                                                    A prop cannon firing under the  Globes thatched roof set the straw on fire.   

Folks who have been involved in theater, amateur or professional, love to swap yarns about various disasters in front of live audiences.  Ask me sometime about when the set fell on my head in the middle of Jules Feiffers Little Murders at Shimer College. 

But even the most grizzled theatrical veteran would have a hard time topping what happened to the cast of Henry VIII on June 29, 1613.  During a performance a cannon sparked a fire in the Globe Theaters thatched roof, burning the theater structure to the ground.  Fortunately no one was seriously injured, although one actor was said to have suffered an indignity to his pants. 

The Globe, of course, was the famous London theater where William Shakespeare had most of his plays produced and where he appeared in many of them as an actor.  Henry VIII is today one of The Bards less produced plays, both because of the liberties taken with the well known historical facts of Henry’s reign and because of suspicion that it was either co-authored or heavily tinkered with by another Globe playwright, John Fletcher.   

The Globe was constructed from the timbers of an earlier venue known simply as The Theater in 1599.  It was built on leased land and when the lease was up, the landlord claimed the building, which was owned by an association of actors.  To retrieve their property the actors hired a carpenter, Peter Street and joined him in disassembling the building in December of 1598 while the landlord was celebrating Christmas in the country.  The material was hidden until the next summer when it was floated across the Themes and the new theater constructed on marshy ground south of Maiden Lane. 

 

The only known near contemporary illustration of the Globe theater by Wenceslas Hollar in 1642. 

The new building evidently substantially re-created the original, although it may have been enlarged.  The Globe was owned originally by six actors who were shareholders in the theatrical troupe The Lord Chamberlains Men.  One of the six was a minority share holder, Will Shakespeare himself.  The building was an open air amphitheater about 100 feet in diameter contained in a building three stories high.  Although described as The Wooden O and portrayed in the only contemporary sketch, by Wenceslas Hollar, archeological evidence now suggests that it may have been a twenty-sided structure. 

Three levels of stadium style boxes were protected under an over-hanging thatched roof that was built onto the interior walls.  Surrounding an apron stage about 43 by 27 feet and raised five feet was a large open area where groundlings paid a penny to stand and watch performances while their betters lounged in the boxes.  As many as 3000 people could be jammed into the theater, which was one of London’s most popular places of amusement. 

The design of the theater was believed to mimic the inn courtyards where traveling theatrical troupes performed in earlier days.  

 

Shakespeare had retired by the time the second Globe, left, was erected, but his plays remained a staple of the resident company. 

Shakespeare himself at about age 50 seems to have retired from active involvement in the Lord Chamberlain’s Men about the time of the fire, and perhaps because of it.  When a second Globe was erected on the foundation of the first in 1614 he seems to be gone, although his plays continued to be revived as the source of most of the troupe’s material.  He died in his home town of Stratford-upon-Avon in 1616. 

The new Globe continued on until something even more deadly than fire befell it—Puritans.  It was closed by order of the Cromwell government in 1642 and probably razed two years later to make way for tenements.  

 

 Dominic Rowan and Kate Duchene perform as the King and Queen Katherine in Henry VIII at Shakespeare's Globe. This time the place did not burn down.

In 1997 Shakespeares Globe, a modern reproduction of the first theater, opened a few yards from the original site and regularly produces plays from the Shakespeare cannon.  Thirteen years ago during a cycle of all of the Bard’s history plays Henry III received a rare revival there. 

This time the cannon fired safely.  Everyone was relieved.

 

Friday, January 5, 2024

Hey, Ho, the Wind and the Rain from Shakespeare’s Twelfth Night—Murfin Winter Holidays Music Festival—Murfin Winter Holidays Music Festival 2023-‘24

                                Hey, Ho, the Wind and the Rain from Shakespeare's Twelfth Night performed by Alfred Decker.

Tonight is the final night of the Twelve Days of Christmas as celebrated in William Shakespeares comedy Twelfth Night.  The fantasy romance included a shipwreck, star-crossed lovers, cross dressing, and ultimately a happy ending—an Elizabethan rom-com.  It was first produced on February 2, 1602—Candlemas, the Anglican end of the extended Christmas season—at the hall of the Middle Temple but was set on Twelfth Night, January 5. 

The play included five songs with lyrics by the Bard.  Although the original melodies were not preserved when the play was finally published in the First Folio in 1623, they have been set to borrowed Tudor era melodies, or composers have taken a hand to create new music.  The best known of the songs is Hey, Ho, the Wind and the Rain also known as When That I Was and a Little Tiny Boy from its opening line and was sung as an epilogue to the action.  It was sung by Feste, the attendant and jester to Viola, the lady passing as a young page.

                        Vivian Leigh as Olivia one of a pair of star crossed lovers in Twelfth Night.

Today we share the song as performed by English counter-tenor Alfred Deller.  Born in 1912 in Kent, Deller sang in all-boy Cathedral Choirs where he sang songs in a high register originally intended for castrati—boys castrated before puberty to preserve their alto and soprano voices.  By the 1950’s he emerged as a solo counter-tenor at a time when that high, almost falsetto voice had fallen from fashion.  Like his contemporary, American John Jacob Niles, he used his voice for folksongs and traditional lute songs as well as Renaissance and Baroque music by composers like Henry Purcell, John Dowland, Johan Sebastian Bach, and Joseph Hyden.  In 1948 he formed the Deller Consort, a group dedicated to historically informed performance. The group recorded music from as early as the 13th Century using traditional instruments like lutes, harps, and harpsichords.  They significantly expanded popular notions of the Baroque repertoire.

English counter-tenor Alfred Deller.

Deller inspired new generations of counter-tenors and helped popularize Madrigal performance of Renaissance and Restoration music.  He died in Bologna, Italy in 1979 at age 67. His performance of Hey, Ho, the Wind and the Rain was included in the album The Art Of Alfred Deller: The Counter-tenor Legacy.