WIL Festival 3.2: “The Tempest”

 “The Tempest” is a play concerned with books and authority. Caliban has a great deal of anxiety about books especially, arguing that they are the root of Prospero’s power:

Why, as I told thee, ’tis a custom with him,
I’ th’ afternoon to sleep: there thou mayst brain him,
Having first seized his books, or with a log
Batter his skull, or paunch him with a stake,
Or cut his wezand with thy knife. Remember
First to possess his books; for without them
He’s but a sot, as I am, nor hath not
One spirit to command: they all do hate him
As rootedly as I. Burn but his books.

And where exactly did Prospero get his books? You might say that the conflict of the play is the elderly Gonzalo’s fault, who, when helping Prospero and Miranda escape the coup,

Out of his charity, being then appointed
Master of this design, did give us, with
Rich garments, linens, stuffs and necessaries,
Which since have steaded much; so, of his gentleness,
Knowing I loved my books, he furnish’d me
From mine own library with volumes that
I prize above my dukedom.

By the end of the play, Prospero connects the dismissal of his books and end of his powers—saying,

I’ll break my staff,
Bury it certain fathoms in the earth,
And deeper than did ever plummet sound
I’ll drown my book.

—with his own death. Having discarded these, married his daughter well, he plans his return to Milan, “where every third thought shall be [his] grave.” Like the play, the ways in which we talk about the relationship between William Shakespeare’s plays and their printing has much to do with managing narratives about death and books.

Brian Allard (Prospero).

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WIL Festival 2.2: “The Tragedy of Julius Caesar”

2017 has been the summer of “Caesar.” It is one of the two new plays that OPS Fest has introduced into their repertoire. It is also playing at the Oregon Shakespeare Festival down in Ashland. The director of that production, in a talk-back in February, stated that she doesn’t know why there are acts four and five (read: anything after the murder of Caesar). That is a common misconception if you think the play is an autobiographical account rather than considering what is tragic about the quality of a major political figure’s death. The title is, after all, “The Tragedy of Julius Caesar” and not “The History of Julius Caesar.” Hence the on-going problems with the Public’s production of this play in New York, as company member Hailey Bachrach discusses here. What does OPS Fest offer to the spectrum of “Caesars” out there this summer?

From left: Beth Yocam (Brutus), Isabella Buckner (Cassius), Sullivan Mackintosh (Cymber), Brian Allard (Caesar), Lauren Saville (Decius Brutus), Shani Harris-Bagwell (Lepidus), David Bellis-Squires (Dardanius), and Michael Streeter (Soothsayer).

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