The Web's largest and most comprehensive scripts resource. 2. In my pitch to (Exeunt editor) Alice Saville, I promised you’d bring the early modern dramaturgical expertise and I’d bring the obsession with contemporary feminist theatre. Come on assay. AB: Yes! In this play, two of the three women, specifically Desdemona and Emilia, die in the final scene, and the third, Bianca, is accused of conspiracy. On one hand, I appreciated that he had more stage time here because it clarified the pacing and structure, but ironically it undoes the feminism of the play: are we supposed to know and care about Emilia because of her connection to Shakespeare or for her in her own historic right? And yet, I also didn’t feel moved both at the Globe and here! Hannah is a writer, academic and theatre critic. The Web's largest and most comprehensive scripts resource. Emilia is a strong hand-drawn script font that is packed with beautiful letters with swooshes and swashes. Everyday low prices and free delivery on eligible orders. I also wanted to join in but wasn’t… feeling it. HG: Ooh interesting distinction! You can also purchase the Globe edition of the Emilia … “We are only as powerful as the stories we tell,” proclaims the third iteration of Emilia in her opening monologue. Find all about Emilia on Scripts.com! The cast of Emilia at Vaudeville Theatre. AB: The imagined linear narrative of progress is something I’ve been really fixated on as a common assumption in progressive Shakespeare theatre productions lately, and that speech definitely assumes that teleological path, as you say. Charity Wakefield in Emilia. Nadia Albina and Sarah Seggari in Emilia at Vaudeville Theatre. AB: There’s a lot of gesturing towards feminist inclusion, definitely! Performing @theoldrep on the 21st and 22nd January. Emilia the play. HG: That’s really interesting. Like her, I got that guilt with Emilia. We aim to provide you with all the latest news, photos and much more. In a dialogue piece with Maddy Costa about Dance Nation and feminist theatre more generally, Rosemary Waugh describes feeling a ‘pang of guilt that I’m being a ‘bad feminist’ if I don’t like something I am ‘supposed to’’. AB: Yeah, it was enjoyable! Edinburgh Review: Natalie Palamides: Nate at Pleasance Courtyard, Not I: The Stage Poetry of Samuel Beckett, Ensemble work: "Theatre is always about together", Review: The Fabulist Fox Sister, Southwark Playhouse (online). Enter your email address below to get an occasional email with Exeunt updates and featured articles. Emilia is an uneven attempt to restore agency to its heroine, and, by extension, to all the women that have been left out of history over the centuries. for that metatheatricality as you say, and for the metaphor of contemporary materials serving as the real structural support for the early modern. Emilia. Plenty of women, such as women of colour, working class women, disabled women, lesbian/bi and trans women, have felt themselves excluded by the mainstream women’s movement and their activism risks getting erased by a linear narrative. She is researching an AHRC-funded PhD on contemporary feminist theatre and realism at the University of Oxford. connotations, and the Vaudeville theatre space. Commissioned specifically for Shakespeare’s Globe, and performed with an all-female cast, Morgan Lloyd-Malcolm's acclaimed play reveals the life of Emilia: poet, mother and feminist. HG: Let’s talk about Emilia’s feminism. Emilia will be playing at the Vaudeville Theatre from 8 March. SCENE 3. I feel that the Globe was designed to be a contemporary space for early modern performance, but Emilia is a contemporary play on early modern history. Something fundamentally different to most West End theatre. Throughout most of the play, Iago has the upper hand in his interactions with his wife. Not really sure where I’m going with this…. This story is told beautifully, but it’s simply not written well enough. We publish thousands of plays, critical texts, coursebooks and reference works, as well as the award-winning digital library Drama Online, so whether you’re a theatre-goer, student, scholar, practitioner or actor, there’s lots to explore. Emilia is perceptive and cynical, maybe as a result of her relationship with Iago. Do you think that’s a missed opportunity? No, let me not. But besides the historical overlaps, the clear goodies and baddies in Emilia really seemed to strike a chord with the audience, both here and when I saw it at the Globe. Jews across early modern Europe were being forced to convert to Christianity or be killed in various regimes, notably the Spanish Inquisition. Judging by my Twitter feed – filled with strong arm and fire emojis, avowals of feminist rage and quotes from *that* final monologue – I’d really missed out. But the final scene is payback time for Emilia. For information on how we process your data, read our Privacy Policy. AB: Yeah I think it’s a great opportunity for even more diverse representation. Our ‘extraordinarily rousing new play’ (The Independent) is back! Many Italian Jews were originally from Spain and Northern Africa – Sephardic Jews – and converted but practiced Judaism in secret as “conversos.” Given that we know Emilia was probably of Northern African descent and raised by a Venetian family – a city that in the mid 1500s was a port city that became a refuge for diasporic converted Jews who still wanted to practice Judaism – it makes it a reasonable possibility that her family was secretly Jewish, and that they were part of the migratory population of Jews trying to find a better life. Her play Belongings was produced at the Hampstead Theatre and Trafalgar Studios in 2011 and was shortlisted for The Charles Wintour Most Promising Playwright Award. In that collaboration by a team of women to realise something greater than the sum of its parts, in an auditorium of mainly women, standing on their feet, roaring. Is there something wrong with me for not being moved as much as some other people clearly were? EMILIA 3: Not right now it isn't. Find out more and book your tickets. HG: Yeah absolutely. A show you do not want to miss out on! Honestly the changed set was the best part of the transfer. What were you expecting from the transfer and what has changed? Emilia is on at the Vaudeville Theatre till 15th June. Webb's play mines an intriguing sidebar of the Civil War - several hundred women fought in the war disguised as men." For not having the right affective response? Emillia Script Apr 20, 2015 Emillia is a brush script that is beautiful and unique, it is a model of modern calligraphy typefaces, in combination with a calligraphy writing style. Emilia the Play transferred from The Globe to London West End’s Vaudeville Theatre, and sadly ends its run on June 1st, 2019. There's one gone to the harbour? As Emilia hits the West End, Hannah Greenstreet and Amy Borsuk discuss its metatheatricality, its Jewish parallels, its role as feminist historical fiction, and more. This was followed in 2015 by another hit play at Hampstead Theatre, The Wasp, which also transferred to Trafalgar Studios.Other stage work includes commissions for the Old … As for the take on history, the major problem here is the framing of this play as entirely truthful when it is more historical fiction (possibly out of necessity since there’s so little known about her, and they wanted a play). O gentle lady, do not put me to't; For I am nothing, if not critical. So when I heard Nicole Charles’ production of Morgan Lloyd Malcolm’s play was getting a West End transfer, I thought it would be the perfect opportunity to see what all the hype was about. Buy Emilia (Oberon Modern Plays) by Morgan Lloyd Malcolm (ISBN: 9781786824813) from Amazon's Book Store. At one point, the character Shakespeare tells Emilia this theatre is ‘my gaffe’ (a line that worked better at the Globe). Emilia argues that women are people, too—and so they should have an equal right to cheat on their spouses. Emilia is concerned. It felt genuinely incendiary to have this play on that stage, in all its bawdiness and brilliance. In the final monologue, Emilia movingly declares, ‘I hold in me a muscle memory of every woman who came before me and I will send more for those that will come after’; we are Emilia’s inheritors. And Clare Perkins’ delivery of that final monologue is worthy of the standing ovation it receives. space to explore its complexities. I also worry that I haven’t said that I enjoyed the show. I thought it struggled a bit that way, that these values the Globe upholds in its performances wasn’t doing the narrative any favours because so many components of the show relied on contemporary theatrics: many changes in time, location, character, but at the Globe there wasn’t any lighting or set change to mark these changes or guide the audience to the focus point on the stage. Too safe? Clare Perkins is phenomenal, true, and she gets to dig deep into rage and passion here. Yesterday was also the Jewish festival holiday, Purim, in which we perform the story of Esther with a very panto style. I wanted to do a dialogue review with you Amy as I thought our perspectives would complement each other. ... Othello (Characters of the Play) 2. Morgan Lloyd Malcolm is a playwright and screenwriter. Othello Act 1 Scene 1 3. Desdemona. Making Shakespeare that awkward comedic character was good fun, and Wakefield does the part well. (I couldn’t help comparing that moment to the RSC’s Imperium, another historical drama, in which I amused myself by counting how many male performers there were onstage vs female ones – about 20:2). The congregation-audience already knows the characters and each one has a particular cheer or boo that the audience is supposed to do; it’s a chance to be noisy, raucous – to disturb the customs of an otherwise holy space. More info here. I wonder whether we can think about Emilia as historical fiction a bit more – a genre which raises all sorts of questions about authenticity and accuracy, representation, and how present concerns mediate retellings of the past. Emilia is a rollercoaster production firing on all cylinders and not stopping for a second to apologise." 18 likes. If you are putting on a production and would like to find out about performance rights for our plays, please visit our Performance Rights Permissions page, This website uses cookies to improve user experience. II,1,903. Of course, now that’s the component of this transfer that I’m most fascinated with – how bringing it from the Globe early modern space and framework into the classic Victorian proscenium of the Vaudeville theatre changed how the show worked, and how I felt I was meant to understand the play. Design: Joanna Scotcher. Anyway, I loved the wood and metal scaffolding in the rounded Globe shape on the classic proscenium Vaudeville Theatre stage, and the ever present amber-coloured flood lights (like footlights!) You shall not write my praise. I really like your point about how the production became a dialogue between the Globe space and its theatrical (and political?) James Shapiro explores this really well in Shakespeare and the Jews: the violence and hostility he describes that Jews faced is gruesome but very real and well documented. Part of the narrative of Emilia is about the power of the printed book to survive and memorialise the writer. Act, Scene, Line (Click to see in context) Speech text: 1. It is, in many ways, intersectional, both in terms of content and in production process (big respect to Morgan Lloyd Malcolm and the producers for holding a baby-friendly matinee, for example). You have little cause to say so. Photo: Helen Murray. Essentially, the reality of Jewish life in Shakespeare’s Europe lends itself to very riveting, complex drama. Enter OTHELLO, LODOVICO, DESDEMONA, EMILIA and Attendants Enjoy the videos and music you love, upload original content, and share it all with friends, family, and the world on YouTube. I feel I was pretty on the nose about that. HG: That’s fascinating – but almost completely unexplored in the play. The play as a whole seems to be working with that progress narrative of history. Jews were made to be second class citizens wherever they went. The narrative felt really sprawling and meandering at the Globe and here at the Vaudeville, thanks to edits and to this enclosed, amplified and electric space, the narrative could flow more cohesively and themes and motifs could be visually marked and underlined. She is also a playwright and has worked with Soho Writers' Lab, the North Wall Arts Centre, and Menagerie Theatre Company. What I wasn’t sure about was how much, literally, of the play they would keep, and it hadn’t even occurred to me that the physical space change would make a major difference. II,1,895. I love the panto comparison, particularly because it is a genre stemming from sixteenth and seventeenth-century commedia dell’arte, concurrent with Shakespeare (albeit Italian), and a really popular Victorian past-time, but one that has a lot of similarities with the openness of early modern performance. The playwright Morgan Lloyd Malcolm tells us in the preface to her new play, Emilia, that “it isn’t an accurate representation of Renaissance England, it isn’t a historical representation. Emilia received its acclaimed premiere at Shakespeare's Globe in 2018, before galvanising West End audiences the following year. She takes those few fragments of Bassano’s life and concocts a rollicking biography for an all-female cast: a mock history play. I guess I wanted to learn something new politically, but I’ll take discovering Emilia Bassanio. Looking for the scripts matching Emilia? In terms of theatrical craft beyond the script, the actors were amazing, I loved the music (and the muses, who at the Globe seemed extraneous and out of place since they weren’t the musicians or narrators), and the blend of early modern dance and contemporary dance and gestures (dabbing, flossing, the finger snap of excitement that young Emilia does) made it easy to enjoy and get lost in. Because it obviously moved many people in the audience. The play, written by Morgan Lloyd Malcolm, gives us a glimpse into the life of the seventeenth-century poet Emilia Bassano … AB: Yes I’d love to! What wouldst thou write of me, if thou shouldst 905 praise me? These aren't the most uplifting messages. Amy, when we were chatting after the show, you made the point about all the lights and tech being exposed – which instantly creates a sense of metatheatricality. I read the script before I knew it was transferring and couldn’t quite work out why people were raving about it. But I think the power of Emilia the play is in its theatrical performance. Photo: Helen Murray. Five years younger than Shakespeare, she outlived him by three decades. Emilia Analysis . ‘Emilia’ at Vaudeville Theatre. Worried, Desdemona goes off to find her husband again. In Morgan Lloyd Malcolm's electrifying play, Emilia and her sisters reach out across the centuries with passion, fury, laughter and song. Othello questions Emilia about Cassio and Desdemona’s relationship, acting as if Emilia is the mistress of a brothel and Desdemona… Act 4, scene 3 Othello, walking with Lodovico, orders Desdemona to go to bed and to dismiss Emilia. As we’re both PhD students, we are unashamedly leaning in to the ‘clever woman’ appellation. Emilia archived West End production to be streamed with pay-what-you-can pricing The award-nominated West End show will be accessible for all! Desdemona remembers a maid in her parents’ house who died of love, and sings a sad song that the maid had. Looking for the scripts matching carlén, emilia? Because I really wanted to be moved, to join in with that…but I couldn’t quite feel it. A European Theatre Dialogue: Repertory Theatre and the Power of the Ensemble, Simeilia Hodge-Dallaway: "I wanted to leave the industry with no option but to see us.". HG: Joanna Scotcher’s design brings the Globe to the West End, or at least had a segment of its trademark wooden semi-circular scaffolding against the back wall. The original set at the Globe puzzled me because it had a permanent bookcase installation, including a case in the shape of the Globe logo, and a promenade space that extended into the yard in a semi-circle. My point in digging into this history is that understanding Emilia as potentially part of a black and Jewish diaspora, as we understand it today, makes her an important character for exploring the reality of how oppression worked in early modern Europe. Home to Methuen Drama, The Arden Shakespeare and Oberon Books, Bloomsbury is the leading publisher in drama and the performing arts. Emilia warns that jealousy can be irrational and uncontrollable. Amy Borsuk: I took a cue from the marketing for this West End transfer when it came to building my expectations for this compared to its Globe run: images of the three Emilias holding hands, smiling, with bold feminist statements about power, or tantalising prompts like, “is she Shakespeare’s dark lady?” Ultimately, I knew they were going to lean into what would draw in West End audiences, beyond the usual Globe subscribers: pop feminism and pop Shakespeare. But of course, the path to equal rights hasn’t been teleological or linear, or a single movement – that is a narrative. She is London Reviews co-Editor for Exeunt, with a focus on fringe and Off-West End theatre. That’s pretty special. (Editor's Pick) - The Washington Post "Amelia recreates Civil War history with uncanny accuracy and delivers a knockout story of young lovers caught up in one of history’s great wars." But he has a point: given Shakespeare’s dominance over the western theatrical canon, he exerts a powerful influence, which is great to see physicalised onstage and shown to be fallible and a bit bumbling by Charity Wakefield. Author. It also won three Olivier Awards, including Best Entertainment or Comedy Play. Place and time is difficult to establish on the Globe stage, but I don’t think adding more set pieces was the solution. It centres a black female character, and splits her into three substantial parts. I read the script before I knew it was transferring and couldn’t quite work out why people were raving about it. Part of the narrative of Emilia is about the power of the printed book to survive and memorialise the writer. Emilia is called “moor” at the beginning of the play. But…I wonder whether Emilia’s message of anger at inequality is too palatable? There’s a bit of discussion of privilege, and her allying with the workers is a gesture towards contemporary class solidarity. I wonder also whether it’s something to do with the play’s use of anachronism/ take on history. Emilia Bassano, a poet and freethinker who founded a school for women, was born in 1569. Perhaps it is that willingness to share that catharsis? You shall not write my praise. 3. It’s enticing to have a character/person like her who can be a symbol of connecting the dots, of linear progress, but she is, sadly, mostly a fiction representing these desires in our historical feminist theatre. Another room In the castle. Amy, you told me that you saw Emilia in its first iteration. AB: It’s such a simple thing, but so effective – of course putting a team together in this model would produce a play that is full of rousing feminist energy! I realise now that at the Globe, in that open-air space, with the focus on audience-actor relationships, shared light and non-amplified sound, the focus I had was on how this contemporary feminist act of historiography could be conveyed through early modern theatrics. Emilia will be available to watch online from 10 – 24 November 2020. Iago. I adored how they used the theatre, with the male characters climbing into the box seats, interjecting loudly and ad-libbing. Welcome to Emilia Clarke Daily your online source for all things British actress Emilia Clarke. Could you say a bit more about what being Jewish meant in the early modern period – the production didn’t have (make?) This time, the focus will be on this exceptional woman who managed to outlive … Hannah Greenstreet: I didn’t manage to see Emilia at the Globe last August. But I agree, it was just gesturing. I do wonder if there is something we are missing? I am struck though by the irony of making him such a focal point of the play. However, maybe some of the moments of stating the obvious is also due to the embrace of a more popular theatrical style. Iago. It is a memory, a dream, a feeling of her.” Choosing her history as a black Jewish woman is excellent, and the all women cast is an excellent idea because these women get to play such a wide range of characters, and because it flips the all-men early modern stage. Desdemona. There’s a brilliant moment when Lord Thomas Howard (Jackie Clune) comes to berate Emilia for publishing her poetry, accusing her of being an improper woman, and the audience boo him offstage like a panto villain. ! I meet the three actresses who play Bassano, each for about a third of her life — Saffron Coomber (Emilia 1), Adelle Leonce (Emilia 2) and Clare Perkins (who is returning to the role of Emilia 3). You can unsubscribe from newsletters at any time by clicking the unsubscribe link in any newsletter. The term could refer to many things: her skin colour, African origins, Muslim or Jewish faith, or a combination of these things. I have to admit though, I think that ended up detracting from the play’s impact, even if it does energise the audience to feel the feminist sentiment. At times it felt like I was watching a pantomime – and this is not to criticise at all – with clear goodies and baddies, direct address to the audience, and an appropriately rowdy audience response. AB: Yes, absolutely! Does online theatre really need to be live? 2,495 Followers, 214 Following, 121 Posts - See Instagram photos and videos from Emilia The Play (@emiliatheplay) She is the first to suggest that somebody is telling Othello untruths about Desdemona; “The Moor’s abused by some most villainous knave./Some base, notorious knave” (Act 4 Scene 2, Line 143-5). It was – to be Greek for a sec – cathartic. But I think the power of Emilia the play is in its theatrical performance. HG: I loved that! All Acts are listed on the Othello text page, or linked to from the bottom of this page.. ACT 4. It digs more deeply into intersectional feminist issues than the plot developed in Emilia. Anna Morrissey’s choreography and Luisa Gerstein’s original music, played by onstage musicians, brought fluency to the scene transitions in what could otherwise be a disparate script. I can’t help but draw parallels with Emilia: It was satisfying for me to get in my Purim shpiel with Emilia, which I’m counting because of her potential Jewish heritage and because of the style and energy engagement we experienced as an audience. It was very well directed by Nicole Charles. At times, it felt like the subtlety of the writing was sacrificed to display the relevance of Emilia’s story to contemporary concerns – for example characters talking about the xenophobia and racism of craftsmen fearing people coming over to take their jobs. II,1,924 And even now, seeing that many women on stage at the West End to take a curtain call so joyfully was like a fist to the chest. This page contains the original text of Othello Act 4, Scene 3.Shakespeare’s original Othello text is extremely long, so we’ve split the text into one Scene per page. ... all ticket buyers will be able to purchase the play script with an exclusive 30 per cent discount. By using our website you consent to all cookies in accordance with our, It looks like you are located in Australia or New Zealand, Continuing Professional Development (CPD), Guides to Plays for Secondary and FE Level, Bloomsbury Education and Childhood Studies, Bloomsbury International Encyclopedia Of Surrealism, Items in your basket cannot be carried over to a different region, and some products may not be available to order due to territorial rights. It felt palatable, but not necessarily substantial under analytical scrutiny. You rise to play and go to bed to work. There's no point in talking abut this play without mentioning how it sat in the Globe. She seemed like a feminist preacher, channelling palpable rage through her body to us in the audience. Find all about carlén, emilia on Scripts.com! HG: Quite possibly! I don’t know. An all-female cast will perform in this ‘magnificent production’ ( The Stage ) filled with ‘wit, fierce intelligence and heady intensity’ ( The Times ). In partnership with publisher Bloomsbury, all ticket buyers will be able to purchase the play script with an exclusive 30% discount. Ultimately, in early modern Europe, Jewishness and blackness were conjoined differently than they are today. Photo: Helen Murray. The missing link seems to be the suffragettes, who are evoked visually on the posters I’ve been seeing all over the tube. 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