Thoughts on rewriting Shakespeare

Literary obsessives among you may be aware of the recent news that Penguin Random House are commissioning a series that will adapt the plays of Shakespeare into the novel form. Award winning authors Margaret Atwood and Howard Jacobson have been added to the list of authors attempting this task (so far only four have been announced, see the story for more). As you might expect, some have been up in arms: surely the authors have better things to do? Why should we meddle with Shakespeare? What will this achieve? Is this going to ruin Shakespeare?

To be fair, I am generalising massively here and the reputation of the authors so far announced is making people very excited. Even better, some people are very open to reinterpretation of Shakespeare and correctly say that it is not a brand new idea. Indeed, there are a series of children's books which I got one Christmas that tell the plays of Shakespeare in modern prose and charming illustrations. Now, this project is going to be more ambitious than that series. Here, they are going to use the novel from to retell the stories rather than just summarise them. Again, not without precedence: A Thousand Acres (one of the many books on my 'must read' list) retells the story of King Lear, and there are numerous plays and films that use Shakespeare's plays as a starting point.

Personally, I'm going to read them and quite excited about future announcements. This is an exciting chance to see another interpretation of Shakespeare's work which we see every month it seems. I see no reason that this news should not be as exciting as the news this week of the Royal Shakespeare Company announcing its summer season. Both projects are going to give us versions of Shakespeare that will not be to everyone's taste. But everyone has their version of Shakespeare. That is why his work lasts, because it can be endlessly reassessed, looked at in a different way.

In fact, the novels will probably be more faithful to the plays than most modern theatre productions will be. Shakespeare's plays are long and a lot of the material simply doesn't work nowadays. This, as well as creative decisions, means that rarely do you see a Shakespeare play in its entirety (as Kenneth Branagh's film proved Hamlet would be about four hours long). Beyond page length, novels don't have this problem with length and just as modern productions do now, can rework the unworkable material into something that does.

I'm definitely going to check these out although as has been pointed out by others, so far no-one has been announced for the tragedies. While the commissioned author of Hamlet or Macbeth (my all time favourite Shakespeare play) will be naturally daunted, they should be thrilled to have such a unique opportunity that would be hard to refuse. As terrifying as it would be, I would definitely love to have a shot at producing my version of these timeless works. Best of luck to the authors, I can't wait to read them.

Watching and Reading Much Ado About Nothing

'When I said I would die a bachelor, I did not think I should still live till I were married.'

Just to make clear, no I regrettably have not seen the David Tennant and Catherine Tate production, but nevertheless the performance I saw in Abergavenny was still impressive. The trick to performing Shakespeare I find is focusing on clarity - chances are at least half the audience will not be familiar with the ins and outs of the play or be able to fully understand the language. In this case the ensemble company did this very well and provided an entertaining evening for all. And it is them more than Shakespeare that deserves the plaudits.

The plot is fairly simple: a group of soldiers return from war to stay in the home of Leonardo, where some of them fall in love with his female family and servants. But as Shakespeare himself wrote, although not in this play, "the course of true love never did run smooth"

The recent convention of abridging Shakespeare's plays may mean there are few productions that contain the whole text, but it does make them more approachable - the quality is still up for debate. As Mark Lawson brought up in his interview with Tennant and Tate, lines like 'if I do not love her, I am a Jew' cannot be used in modern productions. The only possible exception is if, like Gilliam with Faust, a director chose to set the play in Nazi Germany - hardly likely to be a successful combination with any comedies, never mind Shakespeare's.

While the play contains many witty one-liners and fiery dialogue within Beatrice and Benedick's arguments, they did not provoke near as many laughs as the physical comedy from the actors, particularly when both Beatrice and Benedick are tricked into thinking they are in love with each other. Hiding behind increasingly ludicrous items and an attempted cat imitation were exaggerated to the right extent to bring the audience to hysteria. The lines usually only produced laughs through the fantastic timing and inflections used by the actors, such as one instant when a bitter Claudio bitterly talks to 'BeneDICK'

As such when reading the play, the wordplay is more humorous and benefits from being able to take time to understand the language. It also provides detail for the characters and plot, although in this case little more is needed. What is most striking is the similarities and differences in the experiences. The moments of exposition are tedious in both versions, particularly when Hero's fake death is planned - a dramatic contrivance that is near impossible to overcome. However the production did successufully manage at least one major diversion from the text. Claudio, lover of Hero, is tricked into thinking she cheats on him by Don John. Unlike in the script, the production showed the deception on stage. The only piece of dialogue was when the trickster cried to his lover, "You are my Hero" with Claudio's heartbreak being portrayed through some impressive acting. While it was tragic when I first watched it, it is simply stunning knowing that it's an insert.

I am generally of the opinion that seeing a performance of Shakespeare's plays, whether on film or stage, is the best possible way to gain an appreciation of the text; if it is designed to be performed, it is ridiculous to only judge it on a literate level. I genuinely feel Shakespeare was primarily a fantastic entertainer but this was the first time I saw a full-length performance - an area I aim to rectify in time. This relatively low-key production of a mostly lesser-known play leaves me desperate for more.