There's no point in talking abut this play without mentioning how it sat in the Globe. That’s pretty special. You shall not write my praise. Charity Wakefield in Emilia. Iago. EMILIA 3: Not right now it isn't. You shall not write my praise. Find out more and book your tickets. HG: Yeah absolutely. It felt palatable, but not necessarily substantial under analytical scrutiny. 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. It was very well directed by Nicole Charles. AB: Yeah, it was enjoyable! Author. I read the script before I knew it was transferring and couldn’t quite work out why people were raving about it. I also wanted to join in but wasn’t… feeling it. 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). Emilia is called “moor” at the beginning of the play. ... all ticket buyers will be able to purchase the play script with an exclusive 30 per cent discount. (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." We aim to provide you with all the latest news, photos and much more. Essentially, the reality of Jewish life in Shakespeare’s Europe lends itself to very riveting, complex drama. Nadia Albina and Sarah Seggari in Emilia at Vaudeville Theatre. 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. Emilia is perceptive and cynical, maybe as a result of her relationship with Iago. HG: That’s fascinating – but almost completely unexplored in the play. The Web's largest and most comprehensive scripts resource. More info here. You have little cause to say so. Emilia the play. Home to Methuen Drama, The Arden Shakespeare and Oberon Books, Bloomsbury is the leading publisher in drama and the performing arts. 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. AB: Yes I’d love to! 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. Iago. Emilia Analysis . But of course, the path to equal rights hasn’t been teleological or linear, or a single movement – that is a narrative. The play as a whole seems to be working with that progress narrative of history. “We are only as powerful as the stories we tell,” proclaims the third iteration of Emilia in her opening monologue. 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! In partnership with publisher Bloomsbury, all ticket buyers will be able to purchase the play script with an exclusive 30% discount. For not having the right affective response? 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. I adored how they used the theatre, with the male characters climbing into the box seats, interjecting loudly and ad-libbing. 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! ... Othello (Characters of the Play) 2. 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. 18 likes. Welcome to Emilia Clarke Daily your online source for all things British actress Emilia Clarke. Webb's play mines an intriguing sidebar of the Civil War - several hundred women fought in the war disguised as men." This time, the focus will be on this exceptional woman who managed to outlive … Is there something wrong with me for not being moved as much as some other people clearly were? She takes those few fragments of Bassano’s life and concocts a rollicking biography for an all-female cast: a mock history play. Photo: Helen Murray. Making Shakespeare that awkward comedic character was good fun, and Wakefield does the part well. In Morgan Lloyd Malcolm's electrifying play, Emilia and her sisters reach out across the centuries with passion, fury, laughter and song. 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. ‘Emilia’ at Vaudeville Theatre. Morgan Lloyd Malcolm is a playwright and screenwriter. Emillia Script Regular otf (400) About the Product 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. She is researching an AHRC-funded PhD on contemporary feminist theatre and realism at the University of Oxford. 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. 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. 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 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. It digs more deeply into intersectional feminist issues than the plot developed in Emilia. Emilia received its acclaimed premiere at Shakespeare's Globe in 2018, before galvanising West End audiences the following year. This story is told beautifully, but it’s simply not written well enough. HG: Quite possibly! What wouldst thou write of me, if thou shouldst 905 praise me? Emilia Bassano, a poet and freethinker who founded a school for women, was born in 1569. II,1,895. Enter OTHELLO, LODOVICO, DESDEMONA, EMILIA and Attendants Worried, Desdemona goes off to find her husband again. 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? 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. 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.". 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. HG: Ooh interesting distinction! 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. Like her, I got that guilt with Emilia. Everyday low prices and free delivery on eligible orders. Something fundamentally different to most West End theatre. 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 remembers a maid in her parents’ house who died of love, and sings a sad song that the maid had. Amy, you told me that you saw Emilia in its first iteration. Too safe? She is London Reviews co-Editor for Exeunt, with a focus on fringe and Off-West End theatre. Emilia warns that jealousy can be irrational and uncontrollable. 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). Emilia will be playing at the Vaudeville Theatre from 8 March. 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. It was – to be Greek for a sec – cathartic. 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. Emilia the Play transferred from The Globe to London West End’s Vaudeville Theatre, and sadly ends its run on June 1st, 2019. 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. 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. 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. Find all about Emilia on Scripts.com! Find all about carlén, emilia on Scripts.com! Could you say a bit more about what being Jewish meant in the early modern period – the production didn’t have (make?) 2. 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. An all-female cast will perform in this ‘magnificent production’ ( The Stage ) filled with ‘wit, fierce intelligence and heady intensity’ ( The Times ). Because it obviously moved many people in the audience. 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. You rise to play and go to bed to work. Enjoy the videos and music you love, upload original content, and share it all with friends, family, and the world on YouTube. It felt genuinely incendiary to have this play on that stage, in all its bawdiness and brilliance. I wanted to do a dialogue review with you Amy as I thought our perspectives would complement each other. 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. Perhaps it is that willingness to share that catharsis? Not really sure where I’m going with this…. Do you think that’s a missed opportunity? connotations, and the Vaudeville theatre space. HG: I loved that! Honestly the changed set was the best part of the transfer. The Web's largest and most comprehensive scripts resource. 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. 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. 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. Othello Act 1 Scene 1 3. 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). I read the script before I knew it was transferring and couldn’t quite work out why people were raving about it. There’s a bit of discussion of privilege, and her allying with the workers is a gesture towards contemporary class solidarity. Hannah is a writer, academic and theatre critic. 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. Performing @theoldrep on the 21st and 22nd January. Does online theatre really need to be live? 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. But the final scene is payback time for Emilia. Hannah Greenstreet: I didn’t manage to see Emilia at the Globe last August. 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!) Emilia is on at the Vaudeville Theatre till 15th June. SCENE 3. The term could refer to many things: her skin colour, African origins, Muslim or Jewish faith, or a combination of these things. 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. O gentle lady, do not put me to't; For I am nothing, if not critical. Emilia is a strong hand-drawn script font that is packed with beautiful letters with swooshes and swashes. Five years younger than Shakespeare, she outlived him by three decades. 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. You can unsubscribe from newsletters at any time by clicking the unsubscribe link in any newsletter. A show you do not want to miss out on! I really like your point about how the production became a dialogue between the Globe space and its theatrical (and political?) AB: Yes, absolutely! 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). 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. Ultimately, in early modern Europe, Jewishness and blackness were conjoined differently than they are today. But I agree, it was just gesturing. Emilia is a rollercoaster production firing on all cylinders and not stopping for a second to apologise." 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. 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 … I do wonder if there is something we are missing? All Acts are listed on the Othello text page, or linked to from the bottom of this page.. ACT 4. No, let me not. Yesterday was also the Jewish festival holiday, Purim, in which we perform the story of Esther with a very panto style. I feel I was pretty on the nose about that. What were you expecting from the transfer and what has changed? It centres a black female character, and splits her into three substantial parts. 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. for that metatheatricality as you say, and for the metaphor of contemporary materials serving as the real structural support for the early modern. Photo: Helen Murray. Enter your email address below to get an occasional email with Exeunt updates and featured articles. The missing link seems to be the suffragettes, who are evoked visually on the posters I’ve been seeing all over the tube. I don’t know. Jews across early modern Europe were being forced to convert to Christianity or be killed in various regimes, notably the Spanish Inquisition. 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. I also worry that I haven’t said that I enjoyed the show. Come on assay. space to explore its complexities. Looking for the scripts matching Emilia? 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. II,1,903. Part of the narrative of Emilia is about the power of the printed book to survive and memorialise the writer. The cast of Emilia at Vaudeville Theatre. 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. 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. 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. Looking for the scripts matching carlén, emilia? It is a memory, a dream, a feeling of her.” HG: That’s really interesting. I guess I wanted to learn something new politically, but I’ll take discovering Emilia Bassanio. Design: Joanna Scotcher. 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). Emilia. The play could be in subtle dialogue with all the programming to commemorate the 100th anniversary of women’s partial suffrage in the UK, in its focus on how women are remembered and forgotten by the stories told of them. The play, written by Morgan Lloyd Malcolm, gives us a glimpse into the life of the seventeenth-century poet Emilia Bassano … She seemed like a feminist preacher, channelling palpable rage through her body to us in the audience. As we’re both PhD students, we are unashamedly leaning in to the ‘clever woman’ appellation. You can also purchase the Globe edition of the Emilia … She is also a playwright and has worked with Soho Writers' Lab, the North Wall Arts Centre, and Menagerie Theatre Company. And yet, I also didn’t feel moved both at the Globe and here! Photo: Helen Murray. Act, Scene, Line (Click to see in context) Speech text: 1. 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. Desdemona. 2,495 Followers, 214 Following, 121 Posts - See Instagram photos and videos from Emilia The Play (@emiliatheplay) 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. Jews were made to be second class citizens wherever they went. 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. AB: Yes! These aren't the most uplifting messages. 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’’. (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). Emilia argues that women are people, too—and so they should have an equal right to cheat on their spouses. 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. Obviously moved many people in the Globe and here a focus on fringe and End... The reality of Jewish life in Shakespeare ’ s fascinating – but almost completely in! 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