Gail, WONDERFUL!!!

From: "McDonald G." G.McDonald@soton.ac.uk Reply-To: weeklong-l@lists.wikimedia.org Date: Fri, 14 May 2010 15:59:15 +0100 To: "'mnemonic@gmail.com'" mnemonic@gmail.com, "'weeklong-l@lists.wikimedia.org'" weeklong-l@lists.wikimedia.org Conversation: [Weeklong-l] Round II Subject: Re: [Weeklong-l] Round II

Dear all, The recent posts remind me of something.

I've just been teaching Joyce's Ulysses. Here's something pertinent that Stephen Dedalus says about why he prefers the romances to the tragedies of Shakespeare: --If you want to know what are the events which cast their shadow over the hell of time of King Lear, Othello, Hamlet, Troilus and Cressida, look to see when and how the shadow lifts. What softens the heart of a man, shipwrecked in storms dire. Tried, like another Ulysses, Pericles, prince of Tyre?

--Marina,. Stephen said, a child of storm, Miranda, a wonder, Perdita, that which was lost. what was lost is given back to him....

One idea might be to start with the children of storms--and move on to softening of hearts.

Love to all, Gail

From: weeklong-l-bounces@lists.wikimedia.org [mailto:weeklong-l-bounces@lists.wikimedia.org] On Behalf Of Mike Godwin Sent: 14 May 2010 15:44 To: weeklong-l@lists.wikimedia.org Subject: Re: [Weeklong-l] Round II

Tempest, Act IV, Sc. 1.

--m

On Thu, May 13, 2010 at 8:15 PM, Mary Collins mmcollins50@yahoo.com wrote:

Greetings, All!

Thanks for all the ideas that poured out in the last couple of weeks. They were a wellspring of inspiration. Now, we are asking that you focus your scene suggestions on ideas related to the themes "Mystery/Magic/Reunion/Reconciliation". (Past reunions have been built around "Fools and Madmen/Masking," "Deception," and "Dream and Play.") In order to help us with the monumental culling process ahead, please resubmit any scenes you have already submitted if you feel they fit the themes.

We are thinking about a structure for the performance that would include transitions between scenes, so as to accommodate all the weekenders who might want to perform. It would look something like:

PART I (Intro/Prologue) Scene 1 Transition 1 Scene 2 Transition 2 Scene 3 Transition 3 ETC.

Intermission

PART II (Prologue?) More scenes/transitions Finale

For transitions, there could be anything from poetry to song to dance to monologues .... whatever weekend people would like to contribute; weeklongers could sign up, too.

In '05, the performance went on for close to 4 hrs., which was too long. We think we should aim at 1.5, followed by 20 minute intermission and come back with a 1 hr closing. Figuring now: If we limited the scenes to 10 minutes and the interludes to 3 minutes, we could do 11 scenes and 10 interludes within the 150 minute period comfortably. The number of scenes will depend upon what scenes are selected, of course - many scenes seem to run 10-12 minutes.

The day of the reunion is meant to be a day full of performances. There will be opportunities available to do something at the brunch, at a pre-performance moment, and later, at the banquet. (During these times, we won't necessarily be concerned about theme). We "week-longers" should remember that those opportunities exist for us (if we have time!), as well as for the week-enders (anyone want to name these two groups, please??) and we hope to capture three or four Camp Shakespeare kids for some things.

We are setting a deadline for contributing ideas/brainstorming of Sunday, May 23, which gives all of us ten days to read, think, dream, put it out there.

Thanks, and more thanks.

Cheers,

Doc and the Gals.

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The lost/found is everywhere in the final plays, Pericles/Thaisa/ Marina (all three lost), Posthumus/Innogen/her bros, Hermione/Perdita, and according to Gonzalo, everyone. And, of course, the reconciliations are wonderful, though I have a bit of trouble with the Cym ending. We did All's Well once with a really great ending, with bobo Bertie finally coming around. And indeed I still remember the wonderful ending of CE. RE: magic, what about Roz at the end of AYL, and Mistress Quickly and the fairy gang in MWW? Some brief transitions : Antigonus "dream," Queen Mab. Innogen(Fidele) "awakening."

Hope I am not intruding. But thought of those.

Doc

On May 14, 2010, at 7:59 AM, McDonald G. wrote:

Dear all, The recent posts remind me of something.

I've just been teaching Joyce's Ulysses. Here's something pertinent that Stephen Dedalus says about why he prefers the romances to the tragedies of Shakespeare: --If you want to know what are the events which cast their shadow over the hell of time of King Lear, Othello, Hamlet, Troilus and Cressida, look to see when and how the shadow lifts. What softens the heart of a man, shipwrecked in storms dire. Tried, like another Ulysses, Pericles, prince of Tyre?

--Marina,. Stephen said, a child of storm, Miranda, a wonder, Perdita, that which was lost. what was lost is given back to him....

One idea might be to start with the children of storms--and move on to softening of hearts.

Love to all, Gail From: weeklong-l-bounces@lists.wikimedia.org [mailto:weeklong-l-bounces@lists.wikimedia.org ] On Behalf Of Mike Godwin Sent: 14 May 2010 15:44 To: weeklong-l@lists.wikimedia.org Subject: Re: [Weeklong-l] Round II

Tempest, Act IV, Sc. 1.

--m

On Thu, May 13, 2010 at 8:15 PM, Mary Collins mmcollins50@yahoo.com wrote: Greetings, All!

Thanks for all the ideas that poured out in the last couple of weeks. They were a wellspring of inspiration. Now, we are asking that you focus your scene suggestions on ideas related to the themes "Mystery/Magic/ Reunion/Reconciliation". (Past reunions have been built around "Fools and Madmen/Masking," "Deception," and "Dream and Play.") In order to help us with the monumental culling process ahead, please resubmit any scenes you have already submitted if you feel they fit the themes.

We are thinking about a structure for the performance that would include transitions between scenes, so as to accommodate all the weekenders who might want to perform. It would look something like:

PART I (Intro/Prologue) Scene 1 Transition 1 Scene 2 Transition 2 Scene 3 Transition 3 ETC.

Intermission

PART II (Prologue?) More scenes/transitions Finale

For transitions, there could be anything from poetry to song to dance to monologues .... whatever weekend people would like to contribute; weeklongers could sign up, too.

In '05, the performance went on for close to 4 hrs., which was too long. We think we should aim at 1.5, followed by 20 minute intermission and come back with a 1 hr closing. Figuring now: If we limited the scenes to 10 minutes and the interludes to 3 minutes, we could do 11 scenes and 10 interludes within the 150 minute period comfortably. The number of scenes will depend upon what scenes are selected, of course - many scenes seem to run 10-12 minutes.

The day of the reunion is meant to be a day full of performances. There will be opportunities available to do something at the brunch, at a pre-performance moment, and later, at the banquet. (During these times, we won't necessarily be concerned about theme). We "week-longers" should remember that those opportunities exist for us (if we have time!), as well as for the week-enders (anyone want to name these two groups, please??) and we hope to capture three or four Camp Shakespeare kids for some things.

We are setting a deadline for contributing ideas/brainstorming of Sunday, May 23, which gives all of us ten days to read, think, dream, put it out there.

Thanks, and more thanks.

Cheers,

Doc and the Gals.

---

Weeklong-l mailing list Weeklong-l@lists.wikimedia.org https://lists.wikimedia.org/mailman/listinfo/weeklong-l

---

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I also really like Gail’s idea of starting with children of storms and moving on to the softening of hearts. One of the reasons that the reconciliation scenes are so powerful is that they were preceded by jolting dislocations—monumental storms, whether meteorological or personal. When Cordelia says that she has “no cause, no cause,” we recall that she indeed has cause to resent her thundering father. When Hermione emerges warm and alive from her statue-like posture, we recall her previously standing stony-still in a trial-like setting while Leontes charged her with infidelity and treason. So, if feasible within our format, we might want to include earlier scenes from the same plays that fuel the emotions that we feel when we see and hear these reconciliation scenes. And as Jeff observes, scenes from different plays can also reverberate and infuse and reinforce themes. The possibilities are truly infinite. Below are a bunch of ideas, some of which incorporate scene suggestions already made, some of which are new (for example, the silly songs from the TV series “Slings and Arrow), and some of which are designed just to continue the conversation about how to mix and match all of the ideas that are coming in. The list below divides the themes of Mystery/Magic/Reunion/Reconciliation into two broad categories (mystery/magic on the one hand, and reunion/reconciliation on the other) separated by an intermission, but that’s just arbitrary on my part. If I had to pick only a few personal favorites from the list below, I would go with the statue scene in The Winter’s Tale, Lear’s awakening before Cordelia, and the Falstaff scenes. Part 1: Magic and Mystery A bell rings twelve times. Prologue: ‘Tis now the very witching time of night,…(Hamlet 3.2)(“‘Tis now the very witching time of night” through “To give them seals never my soul consent”) Scene 1: The Weird Sisters, the Three Apparitions and the Show of Eight Kings and Banquo (Macbeth 4.1)(“Thrice the brinded cat hath mewed” through end) Alternative Scene 1: The Weird Sisters (Macbeth 1.3)(“Where has thou been sister?” through “Till then enough—Come friends.”) Transition 1: The Mackers Song (from the Canadian television series Slings and Arrows): Call me superstitious or cowardly or weak But I’ll never play a character Whose name one dare not speak I’ll play Hamlet In doublet and hose Or either of the Dromios But sorry, I won’t play Mackers I’ll play Richard the Third With a hump and wig Or Henry the Eighth That selfish pig But sorry, I don’t do Mackers Every soul that plays this role Risks injury or death I’d rather sweep the bloody stage Than ever do Mac-you-know-who So gimme King Lear Cleopatra Romeo, Juliet Doesn’t matter I’ll play them all for free But I’d be crackers To take on Mackers You see, I’m skittish about the Scottish tragedy Scene 2: Bottom’s Transformation and a Spell-bound Titania (A Midsummer Night’s Dream 3.1)(“I see their knavery. This is to make an ass of me” through “Tie up my love’s tongue; bring him silently.) Transition 2: Mercutio’s Queen Mab Speech (Romeo and Juliet, 1.4)(“O, then I see Queen Mab hath been with you” through “Turning his face to the dew-dropping south.”) Scene 3: Othello’s Denial of Sorcery (Othello, 1.2) (“O thou foul thief, where has thou stored my daughter?/Damned as thou art, thou has enchanted her,/For I’ll refer me to all things of sense/If she in chains of magic were not bound” through “She lov’d me for the dangers I had pass’d,/And I lov’d her that she did pity them./This only is the witchcraft I have us’d’) Alternative Scene 3: “There’s witchcraft in your lips”--Henry’s wooing of Katherine” (Henry V, 5.2)(“Fair Katherine, and most fair/Will you vouchsafe to teach a soldier terms” through “There’s witchcraft in your lips) Transition 3: What potions have I drunk (Sonnet 119):

What potions have I drunk of Siren tears, Distill'd from limbecks foul as hell within, Applying fears to hopes and hopes to fears, Still losing when I saw myself to win! What wretched errors hath my heart committed, Whilst it hath thought itself so blessed never! How have mine eyes out of their spheres been fitted In the distraction of this madding fever! O benefit of ill! now I find true That better is by evil still made better; And ruin'd love, when it is built anew, Grows fairer than at first, more strong, far greater. So I return rebuked to my content And gain by ill thrice more than I have spent.

Scene 4: Apollo’s oracle reveals the truth to an unbelieving Leontes (The Winter’s Tale 3.2)(This scene, which incorporates the trial of Hermione, fills the emotional reservoir eventually tapped by the statue scene in Act 5) Transition 4: Antigonus’s dream (The Winter’s Tale 3.3)(Come, poor babe:/I have heard but not believed,/The spirits o’ the dead/May walk again…” through “Exit, pursued by a bear”) Scene 5: The Resuscitation of Thaisa (Pericles 3.2) Transition 5: Prospero’s riff on Medea’s Incantation a/k/a “Ye elves” speech (Tempest 5.1, 1-56)(“Ye elves of hills, brooks, standing lakes and groves” through “I’ll drown my book”)

{Intermission}

Part 2: Reunion and Reconciliation Prologue: A bitter reunion—Hal banishes Falstaff (2 Henry IV 5.4)(Trumpets sound. A royal procession swells the stage. “God save thy grace, King Hal, my royal Hal” through “Take them away”) Scene 1: The family reunion from hell—Lear and his daughters (King Lear 1.1)(Lear’s scorching treatment of his youngest daughter would be cause for resentment by most children—which renders all the more astonishing her words “No cause, no cause” in Act 4, scene 7.) Transition 1: A Walk in the Rain (song from Slings and Arrows): When life takes its toll When fate treats you bad You used to be king And now you’ve been had Alone with your fool You think you’ll go mad It’s nice to take a walk in the rain A stomp through a storm Is what I’d advise When people you trust Tell nothing but lies And kidnap your friend And gouge out his eyes It’s nice to take a walk in the rain You say your daughters Are evil plotters A pitter patter shower will keep you sane When all has been said And all have been slain It’s good to take a walk in the rain For several hours Helps to have a howl in the rain Without your clothes on Nice to take a walk in the rain. Scene 2: Feste’s reunion with Olivia—the fool consoles the fool (Twelfth Night 1.5)(“Nay, either tell me where thou has been…” through “the fool should look to the madman”)[to echo the prior comical song “A Walk in the Rain” in transition 1, Feste could perhaps enter singing a couple of stanzas of “When that I was and a tiny little boy/With hey, ho, the wind and the rain] Transition 2: “Remembrance of Things Past” (Sonnet 30):

When to the sessions of sweet silent thought I summon up remembrance of things past, I sigh the lack of many a thing I sought, And with old woes new wail my dear time's waste: Then can I drown an eye, unused to flow, For precious friends hid in death's dateless night, And weep afresh love's long since cancell'd woe, And moan the expense of many a vanish'd sight: Then can I grieve at grievances foregone, And heavily from woe to woe tell o'er The sad account of fore-bemoaned moan, Which I new pay as if not paid before. But if the while I think on thee, dear friend, All losses are restored and sorrows end.

Scene 3: Hermione Reunites with Perdita (The Winter’s Tale 5.3) Transition 3: The Dance of the Twelve Satyrs (The Winter’s Tale, IV, iv)(“Master, there is three carters, three shepherds, …” through “Here a dance of twelve Satyrs Scene 4: Thaisa Reunites with Pericles and Marina (Pericles 5.3) Transition 4: “Full Fathom Five” (song from The Tempest”) Scene 5: A reunion on heaven’s threshold—Lear awakens to Cordelia (King Lear 4.7) Transition 5: The Chimes at Midnight—Falstaff and Shallow remember good times (2 Henry IV 3.2)(“Come, I will go drink with you,…” through “Jesus, the days that we have seen. Come, come.”)(In stark contrast to the ambitious Hal, Justice Shallow is the steadfast friend to the fat knight.) A bell rings twelve times. And maybe a robust finale consisting of a song and/or dance, perhaps Cole Porter’s “Brush Up Your Shakespeare” or the following song from Season One of the television series “Slings and Arrows”: Cheer Up, Hamlet Cheer up, Hamlet 
Chin up, Hamlet
 Buck up, you melancholy Dane
 So your uncle is a cad Who murdered Dad and married Mum
 That’s really no excuse to be as glum as you’ve become
 So wise up, Hamlet 
Rise up, Hamlet 
Buck up and sing the new refrain
 Your incessant monologizing fills the castle with ennui
 Your antic disposition is embarrassing to see
 And by the way, you sulky brat, the answer is “TO BE”!
 You’re driving poor Ophelia insane
 So shut up, you rogue and peasant
 Grow up, it’s most unpleasant
 Cheer up, you melancholy Dane

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By the way, I notice that sometimes as we're working through possible collections of scenes that work together thematically, we sometimes include scenes that we did in 2005 (as Gail does below). I now am thinking this shouldn't be much of a concern -- I wouldn't want us to skip over a scene done in the last reunion if it otherwise served well thematically in the collection of scenes we're assembling now. While I favor doing new stuff as much as possible, I'm even more in favor of having a collection of scenes and transitions that works as well as possible holistically and thematically.

--Mike

On Sun, May 16, 2010 at 2:28 AM, McDonald G. G.McDonald@soton.ac.uk wrote:

Dear Robert and everybody,

An incredibly thoughtful and detailed missive. If we were to do earlier scenes to prepare the ground for the big reconciliations, then we might, might want to jettison the magical mystery material to clear some time for building up. I had even imagined showing the lost children all in a row at the start: Viola arrives in Illyria; we see Leontes banish Perdita; we see Lear banish Cordelia; we see Miranda trying to understand the shipwreck and/or Ferdinand's first scene; we see Marina/Thaisa, and so forth. I also love the banishment of Falstaff as a ruined reunion, and to prepare for that there could be the scene 1HenryIV in which Falstaff plays the King, which would bring a needed comedy to what might otherwise get a bit sad and repetitious. I like the idea also of highlighting Father/Daughter, Father/Son or family breakups generally, even when it is a 'made' family like Hal and his chums. We at Winedale are, have been, will be a 'made family', too.

I would LOVE to see 'Slings and Arrows' and hope someone will bring it to Winedale. I cannot get it here, for reasons unknown.

A random thought: there is a very funny take on lost children (one white eye and one red eye, etc) in The Bald Soprano.

All best wishes, Gail ________________________________________ From: weeklong-l-bounces@lists.wikimedia.org [ weeklong-l-bounces@lists.wikimedia.org] On Behalf Of Pees, Robert [rpees@AkinGump.com] Sent: 16 May 2010 07:46 To: weeklong-l@lists.wikimedia.org Subject: Re: [Weeklong-l] Round II

I also really like Gail’s idea of starting with children of storms and moving on to the softening of hearts. One of the reasons that the reconciliation scenes are so powerful is that they were preceded by jolting dislocations—monumental storms, whether meteorological or personal. When Cordelia says that she has “no cause, no cause,” we recall that she indeed has cause to resent her thundering father. When Hermione emerges warm and alive from her statue-like posture, we recall her previously standing stony-still in a trial-like setting while Leontes charged her with infidelity and treason. So, if feasible within our format, we might want to include earlier scenes from the same plays that fuel the emotions that we feel when we see and hear these reconciliation scenes. And as Jeff observes, scenes from different plays can also reverberate and infuse and reinforce themes. The possibilities are truly infinite. Below are a bunch of ideas, some of which incorporate scene suggestions already made, some of which are new (for example, the silly songs from the TV series “Slings and Arrow), and some of which are designed just to continue the conversation about how to mix and match all of the ideas that are coming in. The list below divides the themes of Mystery/Magic/Reunion/Reconciliation into two broad categories (mystery/magic on the one hand, and reunion/reconciliation on the other) separated by an intermission, but that’s just arbitrary on my part. If I had to pick only a few personal favorites from the list below, I would go with the statue scene in The Winter’s Tale, Lear’s awakening before Cordelia, and the Falstaff scenes. Part 1: Magic and Mystery A bell rings twelve times. Prologue: ‘Tis now the very witching time of night,…(Hamlet 3.2)(“‘Tis now the very witching time of night” through “To give them seals never my soul consent”) Scene 1: The Weird Sisters, the Three Apparitions and the Show of Eight Kings and Banquo (Macbeth 4.1)(“Thrice the brinded cat hath mewed” through end) Alternative Scene 1: The Weird Sisters (Macbeth 1.3)(“Where has thou been sister?” through “Till then enough—Come friends.”) Transition 1: The Mackers Song (from the Canadian television series Slings and Arrows): Call me superstitious or cowardly or weak But I’ll never play a character Whose name one dare not speak I’ll play Hamlet In doublet and hose Or either of the Dromios But sorry, I won’t play Mackers I’ll play Richard the Third With a hump and wig Or Henry the Eighth That selfish pig But sorry, I don’t do Mackers Every soul that plays this role Risks injury or death I’d rather sweep the bloody stage Than ever do Mac-you-know-who So gimme King Lear Cleopatra Romeo, Juliet Doesn’t matter I’ll play them all for free But I’d be crackers To take on Mackers You see, I’m skittish about the Scottish tragedy Scene 2: Bottom’s Transformation and a Spell-bound Titania (A Midsummer Night’s Dream 3.1)(“I see their knavery. This is to make an ass of me” through “Tie up my love’s tongue; bring him silently.) Transition 2: Mercutio’s Queen Mab Speech (Romeo and Juliet, 1.4)(“O, then I see Queen Mab hath been with you” through “Turning his face to the dew-dropping south.”) Scene 3: Othello’s Denial of Sorcery (Othello, 1.2) (“O thou foul thief, where has thou stored my daughter?/Damned as thou art, thou has enchanted her,/For I’ll refer me to all things of sense/If she in chains of magic were not bound” through “She lov’d me for the dangers I had pass’d,/And I lov’d her that she did pity them./This only is the witchcraft I have us’d’) Alternative Scene 3: “There’s witchcraft in your lips”--Henry’s wooing of Katherine” (Henry V, 5.2)(“Fair Katherine, and most fair/Will you vouchsafe to teach a soldier terms” through “There’s witchcraft in your lips) Transition 3: What potions have I drunk (Sonnet 119):

What potions have I drunk of Siren tears, Distill'd from limbecks foul as hell within, Applying fears to hopes and hopes to fears, Still losing when I saw myself to win! What wretched errors hath my heart committed, Whilst it hath thought itself so blessed never! How have mine eyes out of their spheres been fitted In the distraction of this madding fever! O benefit of ill! now I find true That better is by evil still made better; And ruin'd love, when it is built anew, Grows fairer than at first, more strong, far greater. So I return rebuked to my content And gain by ill thrice more than I have spent.

Scene 4: Apollo’s oracle reveals the truth to an unbelieving Leontes (The Winter’s Tale 3.2)(This scene, which incorporates the trial of Hermione, fills the emotional reservoir eventually tapped by the statue scene in Act 5) Transition 4: Antigonus’s dream (The Winter’s Tale 3.3)(Come, poor babe:/I have heard but not believed,/The spirits o’ the dead/May walk again…” through “Exit, pursued by a bear”) Scene 5: The Resuscitation of Thaisa (Pericles 3.2) Transition 5: Prospero’s riff on Medea’s Incantation a/k/a “Ye elves” speech (Tempest 5.1, 1-56)(“Ye elves of hills, brooks, standing lakes and groves” through “I’ll drown my book”)

{Intermission}

Part 2: Reunion and Reconciliation Prologue: A bitter reunion—Hal banishes Falstaff (2 Henry IV 5.4)(Trumpets sound. A royal procession swells the stage. “God save thy grace, King Hal, my royal Hal” through “Take them away”) Scene 1: The family reunion from hell—Lear and his daughters (King Lear 1.1)(Lear’s scorching treatment of his youngest daughter would be cause for resentment by most children—which renders all the more astonishing her words “No cause, no cause” in Act 4, scene 7.) Transition 1: A Walk in the Rain (song from Slings and Arrows): When life takes its toll When fate treats you bad You used to be king And now you’ve been had Alone with your fool You think you’ll go mad It’s nice to take a walk in the rain A stomp through a storm Is what I’d advise When people you trust Tell nothing but lies And kidnap your friend And gouge out his eyes It’s nice to take a walk in the rain You say your daughters Are evil plotters A pitter patter shower will keep you sane When all has been said And all have been slain It’s good to take a walk in the rain For several hours Helps to have a howl in the rain Without your clothes on Nice to take a walk in the rain. Scene 2: Feste’s reunion with Olivia—the fool consoles the fool (Twelfth Night 1.5)(“Nay, either tell me where thou has been…” through “the fool should look to the madman”)[to echo the prior comical song “A Walk in the Rain” in transition 1, Feste could perhaps enter singing a couple of stanzas of “When that I was and a tiny little boy/With hey, ho, the wind and the rain] Transition 2: “Remembrance of Things Past” (Sonnet 30):

When to the sessions of sweet silent thought I summon up remembrance of things past, I sigh the lack of many a thing I sought, And with old woes new wail my dear time's waste: Then can I drown an eye, unused to flow, For precious friends hid in death's dateless night, And weep afresh love's long since cancell'd woe, And moan the expense of many a vanish'd sight: Then can I grieve at grievances foregone, And heavily from woe to woe tell o'er The sad account of fore-bemoaned moan, Which I new pay as if not paid before. But if the while I think on thee, dear friend, All losses are restored and sorrows end.

Scene 3: Hermione Reunites with Perdita (The Winter’s Tale 5.3) Transition 3: The Dance of the Twelve Satyrs (The Winter’s Tale, IV, iv)(“Master, there is three carters, three shepherds, …” through “Here a dance of twelve Satyrs Scene 4: Thaisa Reunites with Pericles and Marina (Pericles 5.3) Transition 4: “Full Fathom Five” (song from The Tempest”) Scene 5: A reunion on heaven’s threshold—Lear awakens to Cordelia (King Lear 4.7) Transition 5: The Chimes at Midnight—Falstaff and Shallow remember good times (2 Henry IV 3.2)(“Come, I will go drink with you,…” through “Jesus, the days that we have seen. Come, come.”)(In stark contrast to the ambitious Hal, Justice Shallow is the steadfast friend to the fat knight.) A bell rings twelve times. And maybe a robust finale consisting of a song and/or dance, perhaps Cole Porter’s “Brush Up Your Shakespeare” or the following song from Season One of the television series “Slings and Arrows”: Cheer Up, Hamlet Cheer up, Hamlet Chin up, Hamlet Buck up, you melancholy Dane So your uncle is a cad Who murdered Dad and married Mum That’s really no excuse to be as glum as you’ve become So wise up, Hamlet Rise up, Hamlet Buck up and sing the new refrain Your incessant monologizing fills the castle with ennui Your antic disposition is embarrassing to see And by the way, you sulky brat, the answer is “TO BE”! You’re driving poor Ophelia insane So shut up, you rogue and peasant Grow up, it’s most unpleasant Cheer up, you melancholy Dane

---

IRS Circular 230 Notice Requirement: This communication is not given in the form of a covered opinion, within the meaning of Circular 230 issued by the United States Secretary of the Treasury. Thus, we are required to inform you that you cannot rely upon any tax advice contained in this communication for the purpose of avoiding United States federal tax penalties. In addition, any tax advice contained in this communication may not be used to promote, market or recommend a transaction to another party.

The information contained in this e-mail message is intended only for the personal and confidential use of the recipient(s) named above. If you have received this communication in error, please notify us immediately by e-mail, and delete the original message. _______________________________________________ Weeklong-l mailing list Weeklong-l@lists.wikimedia.org https://lists.wikimedia.org/mailman/listinfo/weeklong-l _______________________________________________ Weeklong-l mailing list Weeklong-l@lists.wikimedia.org https://lists.wikimedia.org/mailman/listinfo/weeklong-l

Good morning everyone,

I am so looking forward to meeting all of you, and reconnecting with names I haven't heard in way too long. Anyway, Kathryn, your email reminded me of an ol time fiddler named Michael Cooney who sings (or sang) a 3-minute Hamlet that is a really witty summary of the entire play. I found it on youtube as well, and enclosed the lyrics in case everyone feels it is worth pursuing or at least remembering! Anyway, it's worth the 3 minutes it takes to listen to the tune.

Enjoy!!!

Craig

http://www.youtube.com/watch?v=bzkm20h7t0Y

On Tue, May 18, 2010 at 9:17 PM, kathryn blackbird < kathrynblackbird@sbcglobal.net> wrote:

Oh my, I too am awed and impressed with the input thus far, the ideas are almost overwhelming.... some of the references I know, and many others I have't had the pleasure (or time recently) to familiarize myself. But,

Let me say, the Canadian TV show, "Slings and Arrows" can very easily be found on youtube.com, http://www.youtube.com/watch?v=owfeSoW-DmY. (Here is the link to episode 1 of Season 1, or first part anyway...they annoyingly divide the episodes into 7.5 min segments, but, we must endure) Anyhow, youtube seems to include all of Season 1-3. This is the first episode with the cheeky Hamlet song shortly after the introductory bits and credits. Check it out. I never heard of it til now and am still smiling......

More indepth input to follow..... love to all, kathy

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Hi folks,

I apologize for being absent from the conversation lately. I've spent the past several weeks attending to my ailing father and my post-knee-surgery sister. I've so enjoyed and appreciated the brainstorm of ideas!

It will come as no surprise to those who know me that I agree with Terry about bawdy-bardiness! I hope we provide our audience with new and memorable gut-splitting wackiness. I've never laughed so hard as I've laughed at Winedale. The summer I was Quickly and Madge was Falstaff in Merry Wives, I often woke up in the middle of the night to find myself laughing.

I'm crazy about every suggestion, and we for sure need to include an array of tragic and wondrous scenes. But echoing Terry's note re. celebration, I'd love to see us dip deeply into comedy this summer: "A sad tale's best for winter."

Much love, Susan

On Wed, May 19, 2010 at 8:23 AM, tlgalloway@aol.com wrote:

Hey guys!

I am finally feeling like my old self. Enough,at least, to start really reading- if not in depth- all the emails about the scenes.

Of course, I'm with the bawdy crowd -- wanting to work in scenes that feature people getting their comeuppance or falling flat on their faces--the old Roman Comedy of Errors strain of Shakespeare which has its own take on being torn asunder and put hastily (and imperfectly) back together again.

Do we have enough of those outrageously comic scenes in the suggestion box? My poor old brain just can't seem to keep track.

I'm thinking in that bawdy direction because right before my cochlear implant operation, I did a show with my theater company here in Florida, The Mickee Faust Academy for the REALLY Dramatic Arts.

Every couple of years we do a homage to Shakespeare called Shakes-parody, which is kind of a combination (and my own homage) to Winedale and Esther's Follies.

This year our show was Sex, Beer & Shakespeare. Our opening number was a Gilbert & Sullivan type musical number called "Why We Really Love Shakespeare." For the sex of course.

If it wasn't so bawdy I'd recommend it for our reunion because it is funny as hell. But, alas, it ends with people stripping down to their skivvies-- although we did do that once at Winedale for the reunion Midsummer's, remember?!

Does anyone have a picture of James L. in his underwear on stage? That would be a hoot to have for this reunion.

The only reason I'm musing over this, is that there is so much in Shakespeare that is bawdy and free wheeling and feels like a party, a giving over to life. I am so glad that we are all thinking not just of the beautiful tragedies in Shakespeare (messy though they can be) but of those outrageously crazy moments when order and calm and reason get thrown right out the door.

That whole last act of Midsummer's is exactly that kind of party-- that's why we all love it so much. Everyone's together again, celebrating their own ridiculousness, and on the fringes, ever watching, are the fairies and the imps . And they of course have the last word.

I hope --know-- we can pull something like that off.

Love to you all, Terry

-----Original Message----- From: kathryn blackbird kathrynblackbird@sbcglobal.net To: weeklong-l@lists.wikimedia.org Sent: Tue, May 18, 2010 10:17 pm Subject: Re: [Weeklong-l] Round II

Oh my, I too am awed and impressed with the input thus far, the ideas are almost overwhelming.... some of the references I know, and many others I have't had the pleasure (or time recently) to familiarize myself. But,

Let me say, the Canadian TV show, "Slings and Arrows" can very easily be found on youtube.com, http://www.youtube.com/watch?v=owfeSoW-DmY. (Here is the link to episode 1 of Season 1, or first part anyway...they annoyingly divide the episodes into 7.5 min segments, but, we must endure) Anyhow, youtube seems to include all of Season 1-3. This is the first episode with the cheeky Hamlet song shortly after the introductory bits and credits. Check it out. I never heard of it til now and am still smiling......

More indepth input to follow..... love to all, kathy

---

Weeklong-l mailing listWeeklong-l@lists.wikimedia.orghttps://lists.wikimedia.org/mailman/listinfo/weeklong-l

---

Weeklong-l mailing list Weeklong-l@lists.wikimedia.org https://lists.wikimedia.org/mailman/listinfo/weeklong-l

Terry, as I recall you had us all down to our skivvies within 30 minutes of us being on the stage. I recall Doc walking in to check on us and shaking his head, laughing, and walking out the back the back of the barn. Yes, yes, yes. I guess there are more reasons than car accidents to put on some decent, or at least interesting undies. If there is no photo of James, then we will have to paint the picture in words. Count me in with the bawds, rubber chickens, and magic reconciliation. Can't wait. Can't wait.

Hugs and kisses,

Stanley

Kirsten Kern,PhD, LMTI

Texas Healing Arts Institute

School of Massage, Day Spa and Clinic

7001 Burnet Road

Austin, TX 78757

stan@texashealingarts.com

512 323 6042

_____

From: weeklong-l-bounces@lists.wikimedia.org [mailto:weeklong-l-bounces@lists.wikimedia.org] On Behalf Of tlgalloway@aol.com Sent: Wednesday, May 19, 2010 8:23 AM To: weeklong-l@lists.wikimedia.org Subject: Re: [Weeklong-l] thoughts from an addled brain

Hey guys!

I am finally feeling like my old self. Enough,at least, to start really reading- if not in depth- all the emails about the scenes.

Of course, I'm with the bawdy crowd -- wanting to work in scenes that feature people getting their comeuppance or falling flat on their faces--the old Roman Comedy of Errors strain of Shakespeare which has its own take on being torn asunder and put hastily (and imperfectly) back together again.

Do we have enough of those outrageously comic scenes in the suggestion box? My poor old brain just can't seem to keep track.

I'm thinking in that bawdy direction because right before my cochlear implant operation, I did a show with my theater company here in Florida, The Mickee Faust Academy for the REALLY Dramatic Arts.

Every couple of years we do a homage to Shakespeare called Shakes-parody, which is kind of a combination (and my own homage) to Winedale and Esther's Follies.

This year our show was Sex, Beer & Shakespeare. Our opening number was a Gilbert & Sullivan type musical number called "Why We Really Love Shakespeare." For the sex of course.

If it wasn't so bawdy I'd recommend it for our reunion because it is funny as hell. But, alas, it ends with people stripping down to their skivvies-- although we did do that once at Winedale for the reunion Midsummer's, remember?!

Does anyone have a picture of James L. in his underwear on stage? That would be a hoot to have for this reunion.

The only reason I'm musing over this, is that there is so much in Shakespeare that is bawdy and free wheeling and feels like a party, a giving over to life. I am so glad that we are all thinking not just of the beautiful tragedies in Shakespeare (messy though they can be) but of those outrageously crazy moments when order and calm and reason get thrown right out the door.

That whole last act of Midsummer's is exactly that kind of party-- that's why we all love it so much. Everyone's together again, celebrating their own ridiculousness, and on the fringes, ever watching, are the fairies and the imps . And they of course have the last word.

I hope --know-- we can pull something like that off.

Love to you all,

Terry

-----Original Message----- From: kathryn blackbird kathrynblackbird@sbcglobal.net To: weeklong-l@lists.wikimedia.org Sent: Tue, May 18, 2010 10:17 pm Subject: Re: [Weeklong-l] Round II

Oh my, I too am awed and impressed with the input thus far, the ideas are almost overwhelming.... some of the references I know, and many others I have't had the pleasure (or time recently) to familiarize myself. But,

Let me say, the Canadian TV show, "Slings and Arrows" can very easily be found on youtube.com, http://www.youtube.com/watch?v=owfeSoW-DmY. (Here is the link to episode 1 of Season 1, or first part anyway...they annoyingly divide the episodes into 7.5 min segments, but, we must endure) Anyhow, youtube seems to include all of Season 1-3. This is the first episode with the cheeky Hamlet song shortly after the introductory bits and credits. Check it out. I never heard of it til now and am still smiling......

More indepth input to follow..... love to all, kathy

_______________________________________________ Weeklong-l mailing list Weeklong-l@lists.wikimedia.org https://lists.wikimedia.org/mailman/listinfo/weeklong-l

Thanks Alice -- I'm looking forward to hopping into the discussion at the 11th hour, after I finish this weeklong wrasslin' match with a 20-page term paper for James Loehlin's grad course on the history plays. In Doc's Calhoun 20 bunker (aka office) now, poring over Henry IV Parts 1 and 2... the old burnt-orange shag carpeting from Coach Royal's stadium office at my feet. I'll have to remember to take a break in time to hear the Tower chimes, at midnight....

And thanks to all for the percolating ideas, visions, pleas for rubber chickens and underwear (perhaps at the same time?). I'm learning a lot already, and am eager to play.

cheers,

clayton

On May 19, 2010, at 9:40 PM, Alice Gordon wrote:

Hi, Wonderful Winedalian Weeklongians,

Just a note to remind us all that the 23rd is the deadline to have suggested all the scenes we want to put into consideration. If you have more suggestions, put ‘em out there by the end of the week, please!

There, take it, and much thanks for my good cheer.

A

From: Stan Kern stan@texashealingarts.com Reply-To: weeklong-l@lists.wikimedia.org Date: Wed, 19 May 2010 13:24:56 -0500 To: weeklong-l@lists.wikimedia.org Subject: Re: [Weeklong-l] thoughts from an addled brain

Terry, as I recall you had us all down to our skivvies within 30 minutes of us being on the stage. I recall Doc walking in to check on us and shaking his head, laughing, and walking out the back the back of the barn. Yes, yes, yes. I guess there are more reasons than car accidents to put on some decent, or at least interesting undies. If there is no photo of James, then we will have to paint the picture in words. Count me in with the bawds, rubber chickens, and magic reconciliation. Can’t wait… Can’t wait.

Hugs and kisses, Stanley

Kirsten Kern,PhD, LMTI

Texas Healing Arts Institute

School of Massage, Day Spa and Clinic

7001 Burnet Road

Austin, TX 78757

stan@texashealingarts.com

512 323 6042

From: weeklong-l-bounces@lists.wikimedia.org [mailto:weeklong-l-bounces@lists.wikimedia.org] On Behalf Of tlgalloway@aol.com Sent: Wednesday, May 19, 2010 8:23 AM To: weeklong-l@lists.wikimedia.org Subject: Re: [Weeklong-l] thoughts from an addled brain

Hey guys!

I am finally feeling like my old self. Enough,at least, to start really reading- if not in depth- all the emails about the scenes.

Of course, I'm with the bawdy crowd -- wanting to work in scenes that feature people getting their comeuppance or falling flat on their faces--the old Roman Comedy of Errors strain of Shakespeare which has its own take on being torn asunder and put hastily (and imperfectly) back together again.

Do we have enough of those outrageously comic scenes in the suggestion box? My poor old brain just can't seem to keep track.

I'm thinking in that bawdy direction because right before my cochlear implant operation, I did a show with my theater company here in Florida, The Mickee Faust Academy for the REALLY Dramatic Arts.

Every couple of years we do a homage to Shakespeare called Shakes-parody, which is kind of a combination (and my own homage) to Winedale and Esther's Follies.

This year our show was Sex, Beer & Shakespeare. Our opening number was a Gilbert & Sullivan type musical number called "Why We Really Love Shakespeare." For the sex of course.

If it wasn't so bawdy I'd recommend it for our reunion because it is funny as hell. But, alas, it ends with people stripping down to their skivvies-- although we did do that once at Winedale for the reunion Midsummer's, remember?!

Does anyone have a picture of James L. in his underwear on stage? That would be a hoot to have for this reunion.

The only reason I'm musing over this, is that there is so much in Shakespeare that is bawdy and free wheeling and feels like a party, a giving over to life. I am so glad that we are all thinking not just of the beautiful tragedies in Shakespeare (messy though they can be) but of those outrageously crazy moments when order and calm and reason get thrown right out the door.

That whole last act of Midsummer's is exactly that kind of party-- that's why we all love it so much. Everyone's together again, celebrating their own ridiculousness, and on the fringes, ever watching, are the fairies and the imps . And they of course have the last word.

I hope --know-- we can pull something like that off.

Love to you all,

Terry

-----Original Message----- From: kathryn blackbird kathrynblackbird@sbcglobal.net To: weeklong-l@lists.wikimedia.org Sent: Tue, May 18, 2010 10:17 pm Subject: Re: [Weeklong-l] Round II Oh my, I too am awed and impressed with the input thus far, the ideas are almost overwhelming.... some of the references I know, and many others I have't had the pleasure (or time recently) to familiarize myself. But,

Let me say, the Canadian TV show, "Slings and Arrows" can very easily be found on youtube.com, http://www.youtube.com/watch?v=owfeSoW-DmY. (Here is the link to episode 1 of Season 1, or first part anyway...they annoyingly divide the episodes into 7.5 min segments, but, we must endure) Anyhow, youtube seems to include all of Season 1-3. This is the first episode with the cheeky Hamlet song shortly after the introductory bits and credits. Check it out. I never heard of it til now and am still smiling......

More indepth input to follow..... love to all, kathy

---

Weeklong-l mailing list Weeklong-l@lists.wikimedia.org https://lists.wikimedia.org/mailman/listinfo/weeklong-l

---

Weeklong-l mailing list Weeklong-l@lists.wikimedia.org https://lists.wikimedia.org/mailman/listinfo/weeklong-l _______________________________________________ Weeklong-l mailing list Weeklong-l@lists.wikimedia.org https://lists.wikimedia.org/mailman/listinfo/weeklong-l

Clayton Stromberger Outreach Coordinator UT Shakespeare at Winedale College of Liberal Arts, University of Texas at Austin www.shakespeare-winedale.org cell: 512-228-1055/ office: 512-471-4726

Bruce puts his finger on something I hadn't really been able to get straight in my own head -- when I was thinking about magic, reconciliation, mystery, etc., the scene that kept coming to my mind was the Hymen scene at the end of "As You Like It," which has so much of all that stuff in it, but which we couldn't really do in isolation -- we'd need other pieces of the play to lay the groundwork for the reconciliation and magic in the final scene.

I think it might be possible to lay out a little dramatic/comedic arc with a pair of scenes, or with a triptych -- and we could combine and mix and match these little arcs so they shed light or add resonance to one another.

--m

On Wed, May 19, 2010 at 8:53 PM, Bruce Meyer <Bruce.Meyer@utsouthwestern.edu

wrote:

Ms Alice, Lovely Ladies, my mentor Doc and fellow weeklongers. I wish that I had the kind of depth in the catalog of Shakespeare's complete works that is being displayed here. even more, I wish that I had the kind of time to prowl though and find the jewels. As Terry mentioned, I too like the idea of the whole last act of MND but fear that only the last act leaves us wanting in some way....

I would just ask that we keep in mind the following: If we do only a selected scene from innumerable plays, I fear that we lose the satisfaction and learning that we get from the full arc of a play. Not arguing the we should do a play (perhaps lets be radical and do two full plays!?!). Rather that in selecting scenes we think about doing a few scenes from a few plays. This would allow us to work through the arc of each play as well as allow us to do some comedy, some tragedy and some history while we reveal the magic, mystery, reunion and reconciliation....

cannot wait to play with you all

Bruce

...

...

...

Alice Gordon alicegordon@earthlink.net 5/19/2010 9:40 PM >>>

Hi, Wonderful Winedalian Weeklongians,

Just a note to remind us all that the 23rd is the deadline to have suggested all the scenes we want to put into consideration. If you have more suggestions, put Œem out there by the end of the week, please!

There, take it, and much thanks for my good cheer.

A

From: Stan Kern stan@texashealingarts.com Reply-To: weeklong-l@lists.wikimedia.org Date: Wed, 19 May 2010 13:24:56 -0500 To: weeklong-l@lists.wikimedia.org Subject: Re: [Weeklong-l] thoughts from an addled brain

Terry, as I recall you had us all down to our skivvies within 30 minutes of us being on the stage. I recall Doc walking in to check on us and shaking his head, laughing, and walking out the back the back of the barn. Yes, yes, yes. I guess there are more reasons than car accidents to put on some decent, or at least interesting undies. If there is no photo of James, then we will have to paint the picture in words. Count me in with the bawds, rubber chickens, and magic reconciliation. Can¹t waitŠ Can¹t wait.

Hugs and kisses, Stanley

Kirsten Kern,PhD, LMTI

Texas Healing Arts Institute

School of Massage, Day Spa and Clinic

7001 Burnet Road

Austin, TX 78757

stan@texashealingarts.com

512 323 6042

From: weeklong-l-bounces@lists.wikimedia.org [mailto:weeklong-l-bounces@lists.wikimedia.org] On Behalf Of tlgalloway@aol.com Sent: Wednesday, May 19, 2010 8:23 AM To: weeklong-l@lists.wikimedia.org Subject: Re: [Weeklong-l] thoughts from an addled brain

Hey guys!

I am finally feeling like my old self. Enough,at least, to start really reading- if not in depth- all the emails about the scenes.

Of course, I'm with the bawdy crowd -- wanting to work in scenes that feature people getting their comeuppance or falling flat on their faces--the old Roman Comedy of Errors strain of Shakespeare which has its own take on being torn asunder and put hastily (and imperfectly) back together again.

Do we have enough of those outrageously comic scenes in the suggestion box? My poor old brain just can't seem to keep track.

I'm thinking in that bawdy direction because right before my cochlear implant operation, I did a show with my theater company here in Florida, The Mickee Faust Academy for the REALLY Dramatic Arts.

Every couple of years we do a homage to Shakespeare called Shakes-parody, which is kind of a combination (and my own homage) to Winedale and Esther's Follies.

This year our show was Sex, Beer & Shakespeare. Our opening number was a Gilbert & Sullivan type musical number called "Why We Really Love Shakespeare." For the sex of course.

If it wasn't so bawdy I'd recommend it for our reunion because it is funny as hell. But, alas, it ends with people stripping down to their skivvies-- although we did do that once at Winedale for the reunion Midsummer's, remember?!

Does anyone have a picture of James L. in his underwear on stage? That would be a hoot to have for this reunion.

The only reason I'm musing over this, is that there is so much in Shakespeare that is bawdy and free wheeling and feels like a party, a giving over to life. I am so glad that we are all thinking not just of the beautiful tragedies in Shakespeare (messy though they can be) but of those outrageously crazy moments when order and calm and reason get thrown right out the door.

That whole last act of Midsummer's is exactly that kind of party-- that's why we all love it so much. Everyone's together again, celebrating their own ridiculousness, and on the fringes, ever watching, are the fairies and the imps . And they of course have the last word.

I hope --know-- we can pull something like that off.

Love to you all,

Terry

-----Original Message----- From: kathryn blackbird kathrynblackbird@sbcglobal.net To: weeklong-l@lists.wikimedia.org Sent: Tue, May 18, 2010 10:17 pm Subject: Re: [Weeklong-l] Round II Oh my, I too am awed and impressed with the input thus far, the ideas are almost overwhelming.... some of the references I know, and many others I have't had the pleasure (or time recently) to familiarize myself. But,

Let me say, the Canadian TV show, "Slings and Arrows" can very easily be found on youtube.com, http://www.youtube.com/watch?v=owfeSoW-DmY. (Here is the link to episode 1 of Season 1, or first part anyway...they annoyingly divide the episodes into 7.5 min segments, but, we must endure) Anyhow, youtube seems to include all of Season 1-3. This is the first episode with the cheeky Hamlet song shortly after the introductory bits and credits. Check it out. I never heard of it til now and am still smiling......

More indepth input to follow..... love to all, kathy

---

Weeklong-l mailing list Weeklong-l@lists.wikimedia.org https://lists.wikimedia.org/mailman/listinfo/weeklong-l

---

Weeklong-l mailing list Weeklong-l@lists.wikimedia.org https://lists.wikimedia.org/mailman/listinfo/weeklong-l

---

Weeklong-l mailing list Weeklong-l@lists.wikimedia.org https://lists.wikimedia.org/mailman/listinfo/weeklong-l

My admiration for the depth of Shakespeare knowledge that you people are showing is frightening! wish I had the time and the courage.

I agree that the reconciliation scenes will not ring true unless we have shown the power of the separation.

Will again make a plea for some comedy... surely there can be some joy and laughter in a world of Mystery/Magic/Reunion/Reconciliation!

...

...

"Pees, Robert" rpees@AkinGump.com 5/16/2010 1:46 AM >>>

I also really like Gail’s idea of starting with children of storms and moving on to the softening of hearts. One of the reasons that the reconciliation scenes are so powerful is that they were preceded by jolting dislocations—monumental storms, whether meteorological or personal. When Cordelia says that she has “no cause, no cause,” we recall that she indeed has cause to resent her thundering father. When Hermione emerges warm and alive from her statue-like posture, we recall her previously standing stony-still in a trial-like setting while Leontes charged her with infidelity and treason. So, if feasible within our format, we might want to include earlier scenes from the same plays that fuel the emotions that we feel when we see and hear these reconciliation scenes. And as Jeff observes, scenes from different plays can also reverberate and infuse and reinforce themes. The possibilities are truly infinite. Below are a bunch of ideas, some of which incorporate scene suggestions already made, some of which are new (for example, the silly songs from the TV series “Slings and Arrow), and some of which are designed just to continue the conversation about how to mix and match all of the ideas that are coming in. The list below divides the themes of Mystery/Magic/Reunion/Reconciliation into two broad categories (mystery/magic on the one hand, and reunion/reconciliation on the other) separated by an intermission, but that’s just arbitrary on my part. If I had to pick only a few personal favorites from the list below, I would go with the statue scene in The Winter’s Tale, Lear’s awakening before Cordelia, and the Falstaff scenes. Part 1: Magic and Mystery A bell rings twelve times. Prologue: ‘Tis now the very witching time of night,…(Hamlet 3.2)(“‘Tis now the very witching time of night” through “To give them seals never my soul consent”) Scene 1: The Weird Sisters, the Three Apparitions and the Show of Eight Kings and Banquo (Macbeth 4.1)(“Thrice the brinded cat hath mewed” through end) Alternative Scene 1: The Weird Sisters (Macbeth 1.3)(“Where has thou been sister?” through “Till then enough—Come friends.”) Transition 1: The Mackers Song (from the Canadian television series Slings and Arrows): Call me superstitious or cowardly or weak But I’ll never play a character Whose name one dare not speak I’ll play Hamlet In doublet and hose Or either of the Dromios But sorry, I won’t play Mackers I’ll play Richard the Third With a hump and wig Or Henry the Eighth That selfish pig But sorry, I don’t do Mackers Every soul that plays this role Risks injury or death I’d rather sweep the bloody stage Than ever do Mac-you-know-who So gimme King Lear Cleopatra Romeo, Juliet Doesn’t matter I’ll play them all for free But I’d be crackers To take on Mackers You see, I’m skittish about the Scottish tragedy Scene 2: Bottom’s Transformation and a Spell-bound Titania (A Midsummer Night’s Dream 3.1)(“I see their knavery. This is to make an ass of me” through “Tie up my love’s tongue; bring him silently.) Transition 2: Mercutio’s Queen Mab Speech (Romeo and Juliet, 1.4)(“O, then I see Queen Mab hath been with you” through “Turning his face to the dew-dropping south.”) Scene 3: Othello’s Denial of Sorcery (Othello, 1.2) (“O thou foul thief, where has thou stored my daughter?/Damned as thou art, thou has enchanted her,/For I’ll refer me to all things of sense/If she in chains of magic were not bound” through “She lov’d me for the dangers I had pass’d,/And I lov’d her that she did pity them./This only is the witchcraft I have us’d’) Alternative Scene 3: “There’s witchcraft in your lips”--Henry’s wooing of Katherine” (Henry V, 5.2)(“Fair Katherine, and most fair/Will you vouchsafe to teach a soldier terms” through “There’s witchcraft in your lips) Transition 3: What potions have I drunk (Sonnet 119):

What potions have I drunk of Siren tears, Distill'd from limbecks foul as hell within, Applying fears to hopes and hopes to fears, Still losing when I saw myself to win! What wretched errors hath my heart committed, Whilst it hath thought itself so blessed never! How have mine eyes out of their spheres been fitted In the distraction of this madding fever! O benefit of ill! now I find true That better is by evil still made better; And ruin'd love, when it is built anew, Grows fairer than at first, more strong, far greater. So I return rebuked to my content And gain by ill thrice more than I have spent.

Scene 4: Apollo’s oracle reveals the truth to an unbelieving Leontes (The Winter’s Tale 3.2)(This scene, which incorporates the trial of Hermione, fills the emotional reservoir eventually tapped by the statue scene in Act 5) Transition 4: Antigonus’s dream (The Winter’s Tale 3.3)(Come, poor babe:/I have heard but not believed,/The spirits o’ the dead/May walk again…” through “Exit, pursued by a bear”) Scene 5: The Resuscitation of Thaisa (Pericles 3.2) Transition 5: Prospero’s riff on Medea’s Incantation a/k/a “Ye elves” speech (Tempest 5.1, 1-56)(“Ye elves of hills, brooks, standing lakes and groves” through “I’ll drown my book”)

{Intermission}

Part 2: Reunion and Reconciliation Prologue: A bitter reunion—Hal banishes Falstaff (2 Henry IV 5.4)(Trumpets sound. A royal procession swells the stage. “God save thy grace, King Hal, my royal Hal” through “Take them away”) Scene 1: The family reunion from hell—Lear and his daughters (King Lear 1.1)(Lear’s scorching treatment of his youngest daughter would be cause for resentment by most children—which renders all the more astonishing her words “No cause, no cause” in Act 4, scene 7.) Transition 1: A Walk in the Rain (song from Slings and Arrows): When life takes its toll When fate treats you bad You used to be king And now you’ve been had Alone with your fool You think you’ll go mad It’s nice to take a walk in the rain A stomp through a storm Is what I’d advise When people you trust Tell nothing but lies And kidnap your friend And gouge out his eyes It’s nice to take a walk in the rain You say your daughters Are evil plotters A pitter patter shower will keep you sane When all has been said And all have been slain It’s good to take a walk in the rain For several hours Helps to have a howl in the rain Without your clothes on Nice to take a walk in the rain. Scene 2: Feste’s reunion with Olivia—the fool consoles the fool (Twelfth Night 1.5)(“Nay, either tell me where thou has been…” through “the fool should look to the madman”)[to echo the prior comical song “A Walk in the Rain” in transition 1, Feste could perhaps enter singing a couple of stanzas of “When that I was and a tiny little boy/With hey, ho, the wind and the rain] Transition 2: “Remembrance of Things Past” (Sonnet 30):

When to the sessions of sweet silent thought I summon up remembrance of things past, I sigh the lack of many a thing I sought, And with old woes new wail my dear time's waste: Then can I drown an eye, unused to flow, For precious friends hid in death's dateless night, And weep afresh love's long since cancell'd woe, And moan the expense of many a vanish'd sight: Then can I grieve at grievances foregone, And heavily from woe to woe tell o'er The sad account of fore-bemoaned moan, Which I new pay as if not paid before. But if the while I think on thee, dear friend, All losses are restored and sorrows end.

Scene 3: Hermione Reunites with Perdita (The Winter’s Tale 5.3) Transition 3: The Dance of the Twelve Satyrs (The Winter’s Tale, IV, iv)(“Master, there is three carters, three shepherds, …” through “Here a dance of twelve Satyrs Scene 4: Thaisa Reunites with Pericles and Marina (Pericles 5.3) Transition 4: “Full Fathom Five” (song from The Tempest”) Scene 5: A reunion on heaven’s threshold—Lear awakens to Cordelia (King Lear 4.7) Transition 5: The Chimes at Midnight—Falstaff and Shallow remember good times (2 Henry IV 3.2)(“Come, I will go drink with you,…” through “Jesus, the days that we have seen. Come, come.”)(In stark contrast to the ambitious Hal, Justice Shallow is the steadfast friend to the fat knight.) A bell rings twelve times. And maybe a robust finale consisting of a song and/or dance, perhaps Cole Porter’s “Brush Up Your Shakespeare” or the following song from Season One of the television series “Slings and Arrows”: Cheer Up, Hamlet Cheer up, Hamlet 
Chin up, Hamlet
 Buck up, you melancholy Dane
 So your uncle is a cad Who murdered Dad and married Mum
 That’s really no excuse to be as glum as you’ve become
 So wise up, Hamlet 
Rise up, Hamlet 
Buck up and sing the new refrain
 Your incessant monologizing fills the castle with ennui
 Your antic disposition is embarrassing to see
 And by the way, you sulky brat, the answer is “TO BE”!
 You’re driving poor Ophelia insane
 So shut up, you rogue and peasant
 Grow up, it’s most unpleasant
 Cheer up, you melancholy Dane

____________________________________ IRS Circular 230 Notice Requirement: This communication is not given in the form of a covered opinion, within the meaning of Circular 230 issued by the United States Secretary of the Treasury. Thus, we are required to inform you that you cannot rely upon any tax advice contained in this communication for the purpose of avoiding United States federal tax penalties. In addition, any tax advice contained in this communication may not be used to promote, market or recommend a transaction to another party.

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Re: a case for comedies...

Reconciliation is by definition a Christian concept, especially in Elizabethian times. Do we want to go down that road? The whole process is primarily one of confession/conversion. Some "reconciliations" attempts are failures, or outright "sinful" in the parlence. Re: Rich III, blatantly antiChrist, and Claudius' praying scene in Hamlet, which fails the more orthodox "deeds over words" requirement.

The "reconciliation scene" at the end of Taming (ahem) for instance, Kate's speech is highly suseptible to the religious interpretation, e.g., substitute "Christ" for "husband" in that speech.

Kate's main point in that speech is the "care" husbands provide their wives, which renounces her arrogant dismissal of Petruchio's "Tis with cares" with her "I care not" in the Wooing scene. I think, strictly from an actor's point of view, this is the beginning of a new beat that begins to wind down that scene with a shift in emotion as far as Petruchio is concerned, and key to the eventual reconciliation, if you will, of "Kate" with "Catherine". How she sees herself versus how she is protrayed by the world. O scandalous world!

Yes, this argument IS absurd. But it works for me.

----- Original Message ----- From: "Bruce Meyer" Bruce.Meyer@UTSouthwestern.edu To: weeklong-l@lists.wikimedia.org Sent: Sunday, May 16, 2010 2:36 PM Subject: Re: [Weeklong-l] Round II

My admiration for the depth of Shakespeare knowledge that you people are showing is frightening! wish I had the time and the courage.

I agree that the reconciliation scenes will not ring true unless we have shown the power of the separation.

Will again make a plea for some comedy... surely there can be some joy and laughter in a world of Mystery/Magic/Reunion/Reconciliation!

...

...

...

"Pees, Robert" rpees@AkinGump.com 5/16/2010 1:46 AM >>>

I also really like Gail’s idea of starting with children of storms and moving on to the softening of hearts. One of the reasons that the reconciliation scenes are so powerful is that they were preceded by jolting dislocations—monumental storms, whether meteorological or personal. When Cordelia says that she has “no cause, no cause,” we recall that she indeed has cause to resent her thundering father. When Hermione emerges warm and alive from her statue-like posture, we recall her previously standing stony-still in a trial-like setting while Leontes charged her with infidelity and treason. So, if feasible within our format, we might want to include earlier scenes from the same plays that fuel the emotions that we feel when we see and hear these reconciliation scenes. And as Jeff observes, scenes from different plays can also reverberate and infuse and reinforce themes. The possibilities are truly infinite. Below are a bunch of ideas, some of which incorporate scene suggestions already made, some of which are new (for example, the silly songs from the TV series “Slings and Arrow), and some of which are designed just to continue the conversation about how to mix and match all of the ideas that are coming in. The list below divides the themes of Mystery/Magic/Reunion/Reconciliation into two broad categories (mystery/magic on the one hand, and reunion/reconciliation on the other) separated by an intermission, but that’s just arbitrary on my part. If I had to pick only a few personal favorites from the list below, I would go with the statue scene in The Winter’s Tale, Lear’s awakening before Cordelia, and the Falstaff scenes. Part 1: Magic and Mystery A bell rings twelve times. Prologue: ‘Tis now the very witching time of night,…(Hamlet 3.2)(“‘Tis now the very witching time of night” through “To give them seals never my soul consent”) Scene 1: The Weird Sisters, the Three Apparitions and the Show of Eight Kings and Banquo (Macbeth 4.1)(“Thrice the brinded cat hath mewed” through end) Alternative Scene 1: The Weird Sisters (Macbeth 1.3)(“Where has thou been sister?” through “Till then enough—Come friends.”) Transition 1: The Mackers Song (from the Canadian television series Slings and Arrows): Call me superstitious or cowardly or weak But I’ll never play a character Whose name one dare not speak I’ll play Hamlet In doublet and hose Or either of the Dromios But sorry, I won’t play Mackers I’ll play Richard the Third With a hump and wig Or Henry the Eighth That selfish pig But sorry, I don’t do Mackers Every soul that plays this role Risks injury or death I’d rather sweep the bloody stage Than ever do Mac-you-know-who So gimme King Lear Cleopatra Romeo, Juliet Doesn’t matter I’ll play them all for free But I’d be crackers To take on Mackers You see, I’m skittish about the Scottish tragedy Scene 2: Bottom’s Transformation and a Spell-bound Titania (A Midsummer Night’s Dream 3.1)(“I see their knavery. This is to make an ass of me” through “Tie up my love’s tongue; bring him silently.) Transition 2: Mercutio’s Queen Mab Speech (Romeo and Juliet, 1.4)(“O, then I see Queen Mab hath been with you” through “Turning his face to the dew-dropping south.”) Scene 3: Othello’s Denial of Sorcery (Othello, 1.2) (“O thou foul thief, where has thou stored my daughter?/Damned as thou art, thou has enchanted her,/For I’ll refer me to all things of sense/If she in chains of magic were not bound” through “She lov’d me for the dangers I had pass’d,/And I lov’d her that she did pity them./This only is the witchcraft I have us’d’) Alternative Scene 3: “There’s witchcraft in your lips”--Henry’s wooing of Katherine” (Henry V, 5.2)(“Fair Katherine, and most fair/Will you vouchsafe to teach a soldier terms” through “There’s witchcraft in your lips) Transition 3: What potions have I drunk (Sonnet 119):

What potions have I drunk of Siren tears, Distill'd from limbecks foul as hell within, Applying fears to hopes and hopes to fears, Still losing when I saw myself to win! What wretched errors hath my heart committed, Whilst it hath thought itself so blessed never! How have mine eyes out of their spheres been fitted In the distraction of this madding fever! O benefit of ill! now I find true That better is by evil still made better; And ruin'd love, when it is built anew, Grows fairer than at first, more strong, far greater. So I return rebuked to my content And gain by ill thrice more than I have spent.

Scene 4: Apollo’s oracle reveals the truth to an unbelieving Leontes (The Winter’s Tale 3.2)(This scene, which incorporates the trial of Hermione, fills the emotional reservoir eventually tapped by the statue scene in Act 5) Transition 4: Antigonus’s dream (The Winter’s Tale 3.3)(Come, poor babe:/I have heard but not believed,/The spirits o’ the dead/May walk again…” through “Exit, pursued by a bear”) Scene 5: The Resuscitation of Thaisa (Pericles 3.2) Transition 5: Prospero’s riff on Medea’s Incantation a/k/a “Ye elves” speech (Tempest 5.1, 1-56)(“Ye elves of hills, brooks, standing lakes and groves” through “I’ll drown my book”)

{Intermission}

Part 2: Reunion and Reconciliation Prologue: A bitter reunion—Hal banishes Falstaff (2 Henry IV 5.4)(Trumpets sound. A royal procession swells the stage. “God save thy grace, King Hal, my royal Hal” through “Take them away”) Scene 1: The family reunion from hell—Lear and his daughters (King Lear 1.1)(Lear’s scorching treatment of his youngest daughter would be cause for resentment by most children—which renders all the more astonishing her words “No cause, no cause” in Act 4, scene 7.) Transition 1: A Walk in the Rain (song from Slings and Arrows): When life takes its toll When fate treats you bad You used to be king And now you’ve been had Alone with your fool You think you’ll go mad It’s nice to take a walk in the rain A stomp through a storm Is what I’d advise When people you trust Tell nothing but lies And kidnap your friend And gouge out his eyes It’s nice to take a walk in the rain You say your daughters Are evil plotters A pitter patter shower will keep you sane When all has been said And all have been slain It’s good to take a walk in the rain For several hours Helps to have a howl in the rain Without your clothes on Nice to take a walk in the rain. Scene 2: Feste’s reunion with Olivia—the fool consoles the fool (Twelfth Night 1.5)(“Nay, either tell me where thou has been…” through “the fool should look to the madman”)[to echo the prior comical song “A Walk in the Rain” in transition 1, Feste could perhaps enter singing a couple of stanzas of “When that I was and a tiny little boy/With hey, ho, the wind and the rain] Transition 2: “Remembrance of Things Past” (Sonnet 30):

When to the sessions of sweet silent thought I summon up remembrance of things past, I sigh the lack of many a thing I sought, And with old woes new wail my dear time's waste: Then can I drown an eye, unused to flow, For precious friends hid in death's dateless night, And weep afresh love's long since cancell'd woe, And moan the expense of many a vanish'd sight: Then can I grieve at grievances foregone, And heavily from woe to woe tell o'er The sad account of fore-bemoaned moan, Which I new pay as if not paid before. But if the while I think on thee, dear friend, All losses are restored and sorrows end.

Scene 3: Hermione Reunites with Perdita (The Winter’s Tale 5.3) Transition 3: The Dance of the Twelve Satyrs (The Winter’s Tale, IV, iv)(“Master, there is three carters, three shepherds, …” through “Here a dance of twelve Satyrs Scene 4: Thaisa Reunites with Pericles and Marina (Pericles 5.3) Transition 4: “Full Fathom Five” (song from The Tempest”) Scene 5: A reunion on heaven’s threshold—Lear awakens to Cordelia (King Lear 4.7) Transition 5: The Chimes at Midnight—Falstaff and Shallow remember good times (2 Henry IV 3.2)(“Come, I will go drink with you,…” through “Jesus, the days that we have seen. Come, come.”)(In stark contrast to the ambitious Hal, Justice Shallow is the steadfast friend to the fat knight.) A bell rings twelve times. And maybe a robust finale consisting of a song and/or dance, perhaps Cole Porter’s “Brush Up Your Shakespeare” or the following song from Season One of the television series “Slings and Arrows”: Cheer Up, Hamlet Cheer up, Hamlet 
Chin up, Hamlet
 Buck up, you melancholy Dane
 So your uncle is a cad Who murdered Dad and married Mum
 That’s really no excuse to be as glum as you’ve become
 So wise up, Hamlet 
Rise up, Hamlet 
Buck up and sing the new refrain
 Your incessant monologizing fills the castle with ennui
 Your antic disposition is embarrassing to see
 And by the way, you sulky brat, the answer is “TO BE”!
 You’re driving poor Ophelia insane
 So shut up, you rogue and peasant
 Grow up, it’s most unpleasant
 Cheer up, you melancholy Dane

---

IRS Circular 230 Notice Requirement: This communication is not given in the form of a covered opinion, within the meaning of Circular 230 issued by the United States Secretary of the Treasury. Thus, we are required to inform you that you cannot rely upon any tax advice contained in this communication for the purpose of avoiding United States federal tax penalties. In addition, any tax advice contained in this communication may not be used to promote, market or recommend a transaction to another party.

The information contained in this e-mail message is intended only for the personal and confidential use of the recipient(s) named above. If you have received this communication in error, please notify us immediately by e-mail, and delete the original message. _______________________________________________ Weeklong-l mailing list Weeklong-l@lists.wikimedia.org https://lists.wikimedia.org/mailman/listinfo/weeklong-l

---

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no, from MND, 3.2

Doc On May 17, 2010, at 11:22 AM, Suhler, Jayne wrote:

I am amazed, and know not what to say.

(I think that's from Two Gents...)

I, too, am frightened by the level of discourse here. I think it would be best for me to just throw in a quick pitch for the rubber chicken and be on my way. Here it is: Could we find some place in one of the scenes to hurl it across the stage?

Other than that, I think it's best that I spend a little time with my Complete Works before weighing in again. (I'm also going on vacation.) But know this: I am reading these posts, taking them seriously, and, like Terry, loving the energy and genius. I can't wait to spend time with all of you.

Jayne ________________________________________ From: weeklong-l-bounces@lists.wikimedia.org [weeklong-l-bounces@lists.wikimedia.org ] On Behalf Of Robert Jackson [rjax@netcom.com] Sent: Monday, May 17, 2010 11:52 AM To: weeklong-l@lists.wikimedia.org Subject: Re: [Weeklong-l] Round II

Re: a case for comedies...

Reconciliation is by definition a Christian concept, especially in Elizabethian times. Do we want to go down that road? The whole process is primarily one of confession/conversion. Some "reconciliations" attempts are failures, or outright "sinful" in the parlence. Re: Rich III, blatantly antiChrist, and Claudius' praying scene in Hamlet, which fails the more orthodox "deeds over words" requirement.

The "reconciliation scene" at the end of Taming (ahem) for instance, Kate's speech is highly suseptible to the religious interpretation, e.g., substitute "Christ" for "husband" in that speech.

Kate's main point in that speech is the "care" husbands provide their wives, which renounces her arrogant dismissal of Petruchio's "Tis with cares" with her "I care not" in the Wooing scene. I think, strictly from an actor's point of view, this is the beginning of a new beat that begins to wind down that scene with a shift in emotion as far as Petruchio is concerned, and key to the eventual reconciliation, if you will, of "Kate" with "Catherine". How she sees herself versus how she is protrayed by the world. O scandalous world!

Yes, this argument IS absurd. But it works for me.

----- Original Message ----- From: "Bruce Meyer" Bruce.Meyer@UTSouthwestern.edu To: weeklong-l@lists.wikimedia.org Sent: Sunday, May 16, 2010 2:36 PM Subject: Re: [Weeklong-l] Round II

...

My admiration for the depth of Shakespeare knowledge that you people are showing is frightening! wish I had the time and the courage.

I agree that the reconciliation scenes will not ring true unless we have shown the power of the separation.

Will again make a plea for some comedy... surely there can be some joy and laughter in a world of Mystery/Magic/Reunion/Reconciliation!

...

...

...

"Pees, Robert" rpees@AkinGump.com 5/16/2010 1:46 AM >>>

I also really like Gail’s idea of starting with children of storms and moving on to the softening of hearts. One of the reasons that the reconciliation scenes are so powerful is that they were preceded by jolting dislocations—monumental storms, whether meteorological or personal. When Cordelia says that she has “no cause, no cause,” we recall that she indeed has cause to resent her thundering father. When Hermione emerges warm and alive from her statue-like posture, we recall her previously standing stony-still in a trial-like setting while Leontes charged her with infidelity and treason. So, if feasible within our format, we might want to include earlier scenes from the same plays that fuel the emotions that we feel when we see and hear these reconciliation scenes. And as Jeff observes, scenes from different plays can also reverberate and infuse and reinforce themes. The possibilities are truly infinite. Below are a bunch of ideas, some of which incorporate scene suggestions already made, some of which are new (for example, the silly songs from the TV series “Slings and Arrow), and some of which are designed just to continue the conversation about how to mix and match all of the ideas that are coming in. The list below divides the themes of Mystery/Magic/Reunion/Reconciliation into two broad categories (mystery/magic on the one hand, and reunion/reconciliation on the other) separated by an intermission, but that’s just arbitrary on my part. If I had to pick only a few personal favorites from the list below, I would go with the statue scene in The Winter’s Tale, Lear’s awakening before Cordelia, and the Falstaff scenes. Part 1: Magic and Mystery A bell rings twelve times. Prologue: ‘Tis now the very witching time of night,…(Hamlet 3.2)(“‘Tis now the very witching time of night” through “To give them seals never my soul consent”) Scene 1: The Weird Sisters, the Three Apparitions and the Show of Eight Kings and Banquo (Macbeth 4.1)(“Thrice the brinded cat hath mewed” through end) Alternative Scene 1: The Weird Sisters (Macbeth 1.3)(“Where has thou been sister?” through “Till then enough—Come friends.”) Transition 1: The Mackers Song (from the Canadian television series Slings and Arrows): Call me superstitious or cowardly or weak But I’ll never play a character Whose name one dare not speak I’ll play Hamlet In doublet and hose Or either of the Dromios But sorry, I won’t play Mackers I’ll play Richard the Third With a hump and wig Or Henry the Eighth That selfish pig But sorry, I don’t do Mackers Every soul that plays this role Risks injury or death I’d rather sweep the bloody stage Than ever do Mac-you-know-who So gimme King Lear Cleopatra Romeo, Juliet Doesn’t matter I’ll play them all for free But I’d be crackers To take on Mackers You see, I’m skittish about the Scottish tragedy Scene 2: Bottom’s Transformation and a Spell-bound Titania (A Midsummer Night’s Dream 3.1)(“I see their knavery. This is to make an ass of me” through “Tie up my love’s tongue; bring him silently.) Transition 2: Mercutio’s Queen Mab Speech (Romeo and Juliet, 1.4)(“O, then I see Queen Mab hath been with you” through “Turning his face to the dew-dropping south.”) Scene 3: Othello’s Denial of Sorcery (Othello, 1.2) (“O thou foul thief, where has thou stored my daughter?/Damned as thou art, thou has enchanted her,/For I’ll refer me to all things of sense/If she in chains of magic were not bound” through “She lov’d me for the dangers I had pass’d,/And I lov’d her that she did pity them./This only is the witchcraft I have us’d’) Alternative Scene 3: “There’s witchcraft in your lips”--Henry’s wooing of Katherine” (Henry V, 5.2)(“Fair Katherine, and most fair/Will you vouchsafe to teach a soldier terms” through “There’s witchcraft in your lips) Transition 3: What potions have I drunk (Sonnet 119):

What potions have I drunk of Siren tears, Distill'd from limbecks foul as hell within, Applying fears to hopes and hopes to fears, Still losing when I saw myself to win! What wretched errors hath my heart committed, Whilst it hath thought itself so blessed never! How have mine eyes out of their spheres been fitted In the distraction of this madding fever! O benefit of ill! now I find true That better is by evil still made better; And ruin'd love, when it is built anew, Grows fairer than at first, more strong, far greater. So I return rebuked to my content And gain by ill thrice more than I have spent.

Scene 4: Apollo’s oracle reveals the truth to an unbelieving Leontes (The Winter’s Tale 3.2)(This scene, which incorporates the trial of Hermione, fills the emotional reservoir eventually tapped by the statue scene in Act 5) Transition 4: Antigonus’s dream (The Winter’s Tale 3.3)(Come, poor babe:/I have heard but not believed,/The spirits o’ the dead/May walk again…” through “Exit, pursued by a bear”) Scene 5: The Resuscitation of Thaisa (Pericles 3.2) Transition 5: Prospero’s riff on Medea’s Incantation a/k/a “Ye elves” speech (Tempest 5.1, 1-56)(“Ye elves of hills, brooks, standing lakes and groves” through “I’ll drown my book”)

{Intermission}

Part 2: Reunion and Reconciliation Prologue: A bitter reunion—Hal banishes Falstaff (2 Henry IV 5.4)(Trumpets sound. A royal procession swells the stage. “God save thy grace, King Hal, my royal Hal” through “Take them away”) Scene 1: The family reunion from hell—Lear and his daughters (King Lear 1.1)(Lear’s scorching treatment of his youngest daughter would be cause for resentment by most children—which renders all the more astonishing her words “No cause, no cause” in Act 4, scene 7.) Transition 1: A Walk in the Rain (song from Slings and Arrows): When life takes its toll When fate treats you bad You used to be king And now you’ve been had Alone with your fool You think you’ll go mad It’s nice to take a walk in the rain A stomp through a storm Is what I’d advise When people you trust Tell nothing but lies And kidnap your friend And gouge out his eyes It’s nice to take a walk in the rain You say your daughters Are evil plotters A pitter patter shower will keep you sane When all has been said And all have been slain It’s good to take a walk in the rain For several hours Helps to have a howl in the rain Without your clothes on Nice to take a walk in the rain. Scene 2: Feste’s reunion with Olivia—the fool consoles the fool (Twelfth Night 1.5)(“Nay, either tell me where thou has been…” through “the fool should look to the madman”)[to echo the prior comical song “A Walk in the Rain” in transition 1, Feste could perhaps enter singing a couple of stanzas of “When that I was and a tiny little boy/With hey, ho, the wind and the rain] Transition 2: “Remembrance of Things Past” (Sonnet 30):

When to the sessions of sweet silent thought I summon up remembrance of things past, I sigh the lack of many a thing I sought, And with old woes new wail my dear time's waste: Then can I drown an eye, unused to flow, For precious friends hid in death's dateless night, And weep afresh love's long since cancell'd woe, And moan the expense of many a vanish'd sight: Then can I grieve at grievances foregone, And heavily from woe to woe tell o'er The sad account of fore-bemoaned moan, Which I new pay as if not paid before. But if the while I think on thee, dear friend, All losses are restored and sorrows end.

Scene 3: Hermione Reunites with Perdita (The Winter’s Tale 5.3) Transition 3: The Dance of the Twelve Satyrs (The Winter’s Tale, IV, iv)(“Master, there is three carters, three shepherds, …” through “Here a dance of twelve Satyrs Scene 4: Thaisa Reunites with Pericles and Marina (Pericles 5.3) Transition 4: “Full Fathom Five” (song from The Tempest”) Scene 5: A reunion on heaven’s threshold—Lear awakens to Cordelia (King Lear 4.7) Transition 5: The Chimes at Midnight—Falstaff and Shallow remember good times (2 Henry IV 3.2)(“Come, I will go drink with you,…” through “Jesus, the days that we have seen. Come, come.”)(In stark contrast to the ambitious Hal, Justice Shallow is the steadfast friend to the fat knight.) A bell rings twelve times. And maybe a robust finale consisting of a song and/or dance, perhaps Cole Porter’s “Brush Up Your Shakespeare” or the following song from Season One of the television series “Slings and Arrows”: Cheer Up, Hamlet Cheer up, Hamlet

Chin up, Hamlet

...

Buck up, you melancholy Dane

...

So your uncle is a cad Who murdered Dad and married Mum

...

That’s really no excuse to be as glum as you’ve become

...

So wise up, Hamlet

Rise up, Hamlet

...

Buck up and sing the new refrain

...

Your incessant monologizing fills the castle with ennui

...

Your antic disposition is embarrassing to see

...

And by the way, you sulky brat, the answer is “TO BE”!

...

You’re driving poor Ophelia insane

...

So shut up, you rogue and peasant

...

Grow up, it’s most unpleasant

...

Cheer up, you melancholy Dane

---

IRS Circular 230 Notice Requirement: This communication is not given in the form of a covered opinion, within the meaning of Circular 230 issued by the United States Secretary of the Treasury. Thus, we are required to inform you that you cannot rely upon any tax advice contained in this communication for the purpose of avoiding United States federal tax penalties. In addition, any tax advice contained in this communication may not be used to promote, market or recommend a transaction to another party.

The information contained in this e-mail message is intended only for the personal and confidential use of the recipient(s) named above. If you have received this communication in error, please notify us immediately by e-mail, and delete the original message. _______________________________________________ Weeklong-l mailing list Weeklong-l@lists.wikimedia.org https://lists.wikimedia.org/mailman/listinfo/weeklong-l

---

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---

Weeklong-l mailing list Weeklong-l@lists.wikimedia.org https://lists.wikimedia.org/mailman/listinfo/weeklong-l _______________________________________________ Weeklong-l mailing list Weeklong-l@lists.wikimedia.org https://lists.wikimedia.org/mailman/listinfo/weeklong-l

True, besides, how absurd is it that Petruchio is a Christ-figure and his little Stockhom-Syndrome therapy in the middle scenes constitutes some kind of "suffering for His sake"? But for a nice academic template (Oy!), there's nothing like the opiate of the masses. Actually, Jayne Suhler's images last Friday of Hamlet and Horatio looking down on the 'enchanting" weird sisters while just across the heath I'm sure MacBeth and Banquo were talking 'mortality' with the grave diggers, will haunt my inner English major for some time to come, smiling.

-Jackson

----- Original Message ----- From: "Matt Kozusko" kozusko@mac.com To: weeklong-l@lists.wikimedia.org Sent: Monday, May 17, 2010 2:58 PM Subject: Re: [Weeklong-l] Round II

I don't think we're in any danger of coming off as a church group if we pursue reconciliation, conversion, or even "it is required you do awake your faith" scenes. I'm not sure that's what Robert's arguing, but just in case, Shakespeare always seems (to me) to manage the religion question quite carefully. The most expressly "Christian" moments are always set in foreign places and often in the pre- Christian past (Lear), and Christian *concepts* tend to be figured in non-Christian characters (Paulina) ... hot-button issues such as purgatory and agnosticism tend to show up mostly when characters express anxiety about death (Hamlet, Measure). Christians themselvs tend to be jerks (Merchant) or useless kings (H6) or figures of comedy (friars?)...

Matt

On May 17, 2010, at 12:52 PM, Robert Jackson wrote:

Re: a case for comedies...

Reconciliation is by definition a Christian concept, especially in Elizabethian times. Do we want to go down that road? The whole process is primarily one of confession/conversion. Some "reconciliations" attempts are failures, or outright "sinful" in the parlence. Re: Rich III, blatantly antiChrist, and Claudius' praying scene in Hamlet, which fails the more orthodox "deeds over words" requirement.

The "reconciliation scene" at the end of Taming (ahem) for instance, Kate's speech is highly suseptible to the religious interpretation, e.g., substitute "Christ" for "husband" in that speech.

Kate's main point in that speech is the "care" husbands provide their wives, which renounces her arrogant dismissal of Petruchio's "Tis with cares" with her "I care not" in the Wooing scene. I think, strictly from an actor's point of view, this is the beginning of a new beat that begins to wind down that scene with a shift in emotion as far as Petruchio is concerned, and key to the eventual reconciliation, if you will, of "Kate" with "Catherine". How she sees herself versus how she is protrayed by the world. O scandalous world!

Yes, this argument IS absurd. But it works for me.

----- Original Message ----- From: "Bruce Meyer" Bruce.Meyer@UTSouthwestern.edu To: weeklong-l@lists.wikimedia.org Sent: Sunday, May 16, 2010 2:36 PM Subject: Re: [Weeklong-l] Round II

...

My admiration for the depth of Shakespeare knowledge that you people are showing is frightening! wish I had the time and the courage.

I agree that the reconciliation scenes will not ring true unless we have shown the power of the separation.

Will again make a plea for some comedy... surely there can be some joy and laughter in a world of Mystery/Magic/Reunion/Reconciliation!

...

...

...

"Pees, Robert" rpees@AkinGump.com 5/16/2010 1:46 AM >>>

I also really like Gail’s idea of starting with children of storms and moving on to the softening of hearts. One of the reasons that the reconciliation scenes are so powerful is that they were preceded by jolting dislocations—monumental storms, whether meteorological or personal. When Cordelia says that she has “no cause, no cause,” we recall that she indeed has cause to resent her thundering father. When Hermione emerges warm and alive from her statue-like posture, we recall her previously standing stony-still in a trial-like setting while Leontes charged her with infidelity and treason. So, if feasible within our format, we might want to include earlier scenes from the same plays that fuel the emotions that we feel when we see and hear these reconciliation scenes. And as Jeff observes, scenes from different plays can also reverberate and infuse and reinforce themes. The possibilities are truly infinite. Below are a bunch of ideas, some of which incorporate scene suggestions already made, some of which are new (for example, the silly songs from the TV series “Slings and Arrow), and some of which are designed just to continue the conversation about how to mix and match all of the ideas that are coming in. The list below divides the themes of Mystery/Magic/Reunion/Reconciliation into two broad categories (mystery/magic on the one hand, and reunion/reconciliation on the other) separated by an intermission, but that’s just arbitrary on my part. If I had to pick only a few personal favorites from the list below, I would go with the statue scene in The Winter’s Tale, Lear’s awakening before Cordelia, and the Falstaff scenes. Part 1: Magic and Mystery A bell rings twelve times. Prologue: ‘Tis now the very witching time of night,…(Hamlet 3.2)(“‘Tis now the very witching time of night” through “To give them seals never my soul consent”) Scene 1: The Weird Sisters, the Three Apparitions and the Show of Eight Kings and Banquo (Macbeth 4.1)(“Thrice the brinded cat hath mewed” through end) Alternative Scene 1: The Weird Sisters (Macbeth 1.3)(“Where has thou been sister?” through “Till then enough—Come friends.”) Transition 1: The Mackers Song (from the Canadian television series Slings and Arrows): Call me superstitious or cowardly or weak But I’ll never play a character Whose name one dare not speak I’ll play Hamlet In doublet and hose Or either of the Dromios But sorry, I won’t play Mackers I’ll play Richard the Third With a hump and wig Or Henry the Eighth That selfish pig But sorry, I don’t do Mackers Every soul that plays this role Risks injury or death I’d rather sweep the bloody stage Than ever do Mac-you-know-who So gimme King Lear Cleopatra Romeo, Juliet Doesn’t matter I’ll play them all for free But I’d be crackers To take on Mackers You see, I’m skittish about the Scottish tragedy Scene 2: Bottom’s Transformation and a Spell-bound Titania (A Midsummer Night’s Dream 3.1)(“I see their knavery. This is to make an ass of me” through “Tie up my love’s tongue; bring him silently.) Transition 2: Mercutio’s Queen Mab Speech (Romeo and Juliet, 1.4)(“O, then I see Queen Mab hath been with you” through “Turning his face to the dew-dropping south.”) Scene 3: Othello’s Denial of Sorcery (Othello, 1.2) (“O thou foul thief, where has thou stored my daughter?/Damned as thou art, thou has enchanted her,/For I’ll refer me to all things of sense/If she in chains of magic were not bound” through “She lov’d me for the dangers I had pass’d,/And I lov’d her that she did pity them./This only is the witchcraft I have us’d’) Alternative Scene 3: “There’s witchcraft in your lips”--Henry’s wooing of Katherine” (Henry V, 5.2)(“Fair Katherine, and most fair/Will you vouchsafe to teach a soldier terms” through “There’s witchcraft in your lips) Transition 3: What potions have I drunk (Sonnet 119):

What potions have I drunk of Siren tears, Distill'd from limbecks foul as hell within, Applying fears to hopes and hopes to fears, Still losing when I saw myself to win! What wretched errors hath my heart committed, Whilst it hath thought itself so blessed never! How have mine eyes out of their spheres been fitted In the distraction of this madding fever! O benefit of ill! now I find true That better is by evil still made better; And ruin'd love, when it is built anew, Grows fairer than at first, more strong, far greater. So I return rebuked to my content And gain by ill thrice more than I have spent.

Scene 4: Apollo’s oracle reveals the truth to an unbelieving Leontes (The Winter’s Tale 3.2)(This scene, which incorporates the trial of Hermione, fills the emotional reservoir eventually tapped by the statue scene in Act 5) Transition 4: Antigonus’s dream (The Winter’s Tale 3.3)(Come, poor babe:/I have heard but not believed,/The spirits o’ the dead/May walk again…” through “Exit, pursued by a bear”) Scene 5: The Resuscitation of Thaisa (Pericles 3.2) Transition 5: Prospero’s riff on Medea’s Incantation a/k/a “Ye elves” speech (Tempest 5.1, 1-56)(“Ye elves of hills, brooks, standing lakes and groves” through “I’ll drown my book”)

{Intermission}

Part 2: Reunion and Reconciliation Prologue: A bitter reunion—Hal banishes Falstaff (2 Henry IV 5.4)(Trumpets sound. A royal procession swells the stage. “God save thy grace, King Hal, my royal Hal” through “Take them away”) Scene 1: The family reunion from hell—Lear and his daughters (King Lear 1.1)(Lear’s scorching treatment of his youngest daughter would be cause for resentment by most children—which renders all the more astonishing her words “No cause, no cause” in Act 4, scene 7.) Transition 1: A Walk in the Rain (song from Slings and Arrows): When life takes its toll When fate treats you bad You used to be king And now you’ve been had Alone with your fool You think you’ll go mad It’s nice to take a walk in the rain A stomp through a storm Is what I’d advise When people you trust Tell nothing but lies And kidnap your friend And gouge out his eyes It’s nice to take a walk in the rain You say your daughters Are evil plotters A pitter patter shower will keep you sane When all has been said And all have been slain It’s good to take a walk in the rain For several hours Helps to have a howl in the rain Without your clothes on Nice to take a walk in the rain. Scene 2: Feste’s reunion with Olivia—the fool consoles the fool (Twelfth Night 1.5)(“Nay, either tell me where thou has been…” through “the fool should look to the madman”)[to echo the prior comical song “A Walk in the Rain” in transition 1, Feste could perhaps enter singing a couple of stanzas of “When that I was and a tiny little boy/With hey, ho, the wind and the rain] Transition 2: “Remembrance of Things Past” (Sonnet 30):

When to the sessions of sweet silent thought I summon up remembrance of things past, I sigh the lack of many a thing I sought, And with old woes new wail my dear time's waste: Then can I drown an eye, unused to flow, For precious friends hid in death's dateless night, And weep afresh love's long since cancell'd woe, And moan the expense of many a vanish'd sight: Then can I grieve at grievances foregone, And heavily from woe to woe tell o'er The sad account of fore-bemoaned moan, Which I new pay as if not paid before. But if the while I think on thee, dear friend, All losses are restored and sorrows end.

Scene 3: Hermione Reunites with Perdita (The Winter’s Tale 5.3) Transition 3: The Dance of the Twelve Satyrs (The Winter’s Tale, IV, iv)(“Master, there is three carters, three shepherds, …” through “Here a dance of twelve Satyrs Scene 4: Thaisa Reunites with Pericles and Marina (Pericles 5.3) Transition 4: “Full Fathom Five” (song from The Tempest”) Scene 5: A reunion on heaven’s threshold—Lear awakens to Cordelia (King Lear 4.7) Transition 5: The Chimes at Midnight—Falstaff and Shallow remember good times (2 Henry IV 3.2)(“Come, I will go drink with you,…” through “Jesus, the days that we have seen. Come, come.”)(In stark contrast to the ambitious Hal, Justice Shallow is the steadfast friend to the fat knight.) A bell rings twelve times. And maybe a robust finale consisting of a song and/or dance, perhaps Cole Porter’s “Brush Up Your Shakespeare” or the following song from Season One of the television series “Slings and Arrows”: Cheer Up, Hamlet Cheer up, Hamlet

Chin up, Hamlet

...

Buck up, you melancholy Dane

...

So your uncle is a cad Who murdered Dad and married Mum

...

That’s really no excuse to be as glum as you’ve become

...

So wise up, Hamlet

Rise up, Hamlet

...

Buck up and sing the new refrain

...

Your incessant monologizing fills the castle with ennui

...

Your antic disposition is embarrassing to see

...

And by the way, you sulky brat, the answer is “TO BE”!

...

You’re driving poor Ophelia insane

...

So shut up, you rogue and peasant

...

Grow up, it’s most unpleasant

...

Cheer up, you melancholy Dane

---

IRS Circular 230 Notice Requirement: This communication is not given in the form of a covered opinion, within the meaning of Circular 230 issued by the United States Secretary of the Treasury. Thus, we are required to inform you that you cannot rely upon any tax advice contained in this communication for the purpose of avoiding United States federal tax penalties. In addition, any tax advice contained in this communication may not be used to promote, market or recommend a transaction to another party.

The information contained in this e-mail message is intended only for the personal and confidential use of the recipient(s) named above. If you have received this communication in error, please notify us immediately by e-mail, and delete the original message. _______________________________________________ Weeklong-l mailing list Weeklong-l@lists.wikimedia.org https://lists.wikimedia.org/mailman/listinfo/weeklong-l

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To all, my apologies for not getting the complete list to you tonight. Blue Mountain Center duties interfered. But tomorrow you'll have it in the afternoon to refer to in case you have last-minute wishes.

From: James Ayres jayres@cvctx.com Reply-To: weeklong-l@lists.wikimedia.org Date: Sun, 16 May 2010 16:54:12 -0700 To: weeklong-l@lists.wikimedia.org Subject: Re: [Weeklong-l] Round II

Bob:

This is wonderful ! Thanks very much.

Doc On May 15, 2010, at 11:46 PM, Pees, Robert wrote:

...

I also really like Gail¹s idea of starting with children of storms and moving on to the softening of hearts. One of the reasons that the reconciliation scenes are so powerful is that they were preceded by jolting dislocations‹monumental storms, whether meteorological or personal. When Cordelia says that she has ³no cause, no cause,² we recall that she indeed has cause to resent her thundering father. When Hermione emerges warm and alive from her statue-like posture, we recall her previously standing stony-still in a trial- like setting while Leontes charged her with infidelity and treason. So, if feasible within our format, we might want to include earlier scenes from the same plays that fuel the emotions that we feel when we see and hear these reconciliation scenes. And as Jeff observes, scenes from different plays can also reverberate and infuse and reinforce themes. The possibilities are truly infinite. Below are a bunch of ideas, some of which incorporate scene suggestions already made, some of which are new (for example, the silly songs from the TV series ³Slings and Arrow), and some of which are designed just to continue the conversation about how to mix and match all of the ideas that are coming in. The list below divides the themes of Mystery/Magic/Reunion/Reconciliation into two broad categories (mystery/magic on the one hand, and reunion/ reconciliation on the other) separated by an intermission, but that¹s just arbitrary on my part. If I had to pick only a few personal favorites from the list below, I would go with the statue scene in The Winter¹s Tale, Lear¹s awakening before Cordelia, and the Falstaff scenes. Part 1: Magic and Mystery A bell rings twelve times. Prologue: ŒTis now the very witching time of night,Š(Hamlet 3.2) (³ŒTis now the very witching time of night² through ³To give them seals never my soul consent²) Scene 1: The Weird Sisters, the Three Apparitions and the Show of Eight Kings and Banquo (Macbeth 4.1)(³Thrice the brinded cat hath mewed² through end) Alternative Scene 1: The Weird Sisters (Macbeth 1.3)(³Where has thou been sister?² through ³Till then enough‹Come friends.²) Transition 1: The Mackers Song (from the Canadian television series Slings and Arrows): Call me superstitious or cowardly or weak But I¹ll never play a character Whose name one dare not speak I¹ll play Hamlet In doublet and hose Or either of the Dromios But sorry, I won¹t play Mackers I¹ll play Richard the Third With a hump and wig Or Henry the Eighth That selfish pig But sorry, I don¹t do Mackers Every soul that plays this role Risks injury or death I¹d rather sweep the bloody stage Than ever do Mac-you-know-who So gimme King Lear Cleopatra Romeo, Juliet Doesn¹t matter I¹ll play them all for free But I¹d be crackers To take on Mackers You see, I¹m skittish about the Scottish tragedy Scene 2: Bottom¹s Transformation and a Spell-bound Titania (A Midsummer Night¹s Dream 3.1)(³I see their knavery. This is to make an ass of me² through ³Tie up my love¹s tongue; bring him silently.) Transition 2: Mercutio¹s Queen Mab Speech (Romeo and Juliet, 1.4) (³O, then I see Queen Mab hath been with you² through ³Turning his face to the dew-dropping south.²) Scene 3: Othello¹s Denial of Sorcery (Othello, 1.2) (³O thou foul thief, where has thou stored my daughter?/Damned as thou art, thou has enchanted her,/For I¹ll refer me to all things of sense/If she in chains of magic were not bound² through ³She lov¹d me for the dangers I had pass¹d,/And I lov¹d her that she did pity them./This only is the witchcraft I have us¹d¹) Alternative Scene 3: ³There¹s witchcraft in your lips²--Henry¹s wooing of Katherine² (Henry V, 5.2)(³Fair Katherine, and most fair/ Will you vouchsafe to teach a soldier terms² through ³There¹s witchcraft in your lips) Transition 3: What potions have I drunk (Sonnet 119):

What potions have I drunk of Siren tears, Distill'd from limbecks foul as hell within, Applying fears to hopes and hopes to fears, Still losing when I saw myself to win! What wretched errors hath my heart committed, Whilst it hath thought itself so blessed never! How have mine eyes out of their spheres been fitted In the distraction of this madding fever! O benefit of ill! now I find true That better is by evil still made better; And ruin'd love, when it is built anew, Grows fairer than at first, more strong, far greater. So I return rebuked to my content And gain by ill thrice more than I have spent.

Scene 4: Apollo¹s oracle reveals the truth to an unbelieving Leontes (The Winter¹s Tale 3.2)(This scene, which incorporates the trial of Hermione, fills the emotional reservoir eventually tapped by the statue scene in Act 5) Transition 4: Antigonus¹s dream (The Winter¹s Tale 3.3)(Come, poor babe:/I have heard but not believed,/The spirits o¹ the dead/ May walk againŠ² through ³Exit, pursued by a bear²) Scene 5: The Resuscitation of Thaisa (Pericles 3.2) Transition 5: Prospero¹s riff on Medea¹s Incantation a/k/a ³Ye elves² speech (Tempest 5.1, 1-56)(³Ye elves of hills, brooks, standing lakes and groves² through ³I¹ll drown my book²)

{Intermission}

Part 2: Reunion and Reconciliation Prologue: A bitter reunion‹Hal banishes Falstaff (2 Henry IV 5.4) (Trumpets sound. A royal procession swells the stage. ³God save thy grace, King Hal, my royal Hal² through ³Take them away²) Scene 1: The family reunion from hell‹Lear and his daughters (King Lear 1.1)(Lear¹s scorching treatment of his youngest daughter would be cause for resentment by most children‹which renders all the more astonishing her words ³No cause, no cause² in Act 4, scene 7.) Transition 1: A Walk in the Rain (song from Slings and Arrows): When life takes its toll When fate treats you bad You used to be king And now you¹ve been had Alone with your fool You think you¹ll go mad It¹s nice to take a walk in the rain A stomp through a storm Is what I¹d advise When people you trust Tell nothing but lies And kidnap your friend And gouge out his eyes It¹s nice to take a walk in the rain You say your daughters Are evil plotters A pitter patter shower will keep you sane When all has been said And all have been slain It¹s good to take a walk in the rain For several hours Helps to have a howl in the rain Without your clothes on Nice to take a walk in the rain. Scene 2: Feste¹s reunion with Olivia‹the fool consoles the fool (Twelfth Night 1.5)(³Nay, either tell me where thou has beenŠ² through ³the fool should look to the madman²)[to echo the prior comical song ³A Walk in the Rain² in transition 1, Feste could perhaps enter singing a couple of stanzas of ³When that I was and a tiny little boy/With hey, ho, the wind and the rain] Transition 2: ³Remembrance of Things Past² (Sonnet 30):

When to the sessions of sweet silent thought I summon up remembrance of things past, I sigh the lack of many a thing I sought, And with old woes new wail my dear time's waste: Then can I drown an eye, unused to flow, For precious friends hid in death's dateless night, And weep afresh love's long since cancell'd woe, And moan the expense of many a vanish'd sight: Then can I grieve at grievances foregone, And heavily from woe to woe tell o'er The sad account of fore-bemoaned moan, Which I new pay as if not paid before. But if the while I think on thee, dear friend, All losses are restored and sorrows end.

Scene 3: Hermione Reunites with Perdita (The Winter¹s Tale 5.3) Transition 3: The Dance of the Twelve Satyrs (The Winter¹s Tale, IV, iv)(³Master, there is three carters, three shepherds, Š² through ³Here a dance of twelve Satyrs Scene 4: Thaisa Reunites with Pericles and Marina (Pericles 5.3) Transition 4: ³Full Fathom Five² (song from The Tempest²) Scene 5: A reunion on heaven¹s threshold‹Lear awakens to Cordelia (King Lear 4.7) Transition 5: The Chimes at Midnight‹Falstaff and Shallow remember good times (2 Henry IV 3.2)(³Come, I will go drink with you,Š² through ³Jesus, the days that we have seen. Come, come.²)(In stark contrast to the ambitious Hal, Justice Shallow is the steadfast friend to the fat knight.) A bell rings twelve times. And maybe a robust finale consisting of a song and/or dance, perhaps Cole Porter¹s ³Brush Up Your Shakespeare² or the following song from Season One of the television series ³Slings and Arrows²: Cheer Up, Hamlet Cheer up, Hamlet

Chin up, Hamlet

Buck up, you melancholy Dane

So your uncle is a cad Who murdered Dad and married Mum

That¹s really no excuse to be as glum as you¹ve become

So wise up, Hamlet

Rise up, Hamlet

Buck up and sing the new refrain

Your incessant monologizing fills the castle with ennui

Your antic disposition is embarrassing to see

And by the way, you sulky brat, the answer is ³TO BE²!

You¹re driving poor Ophelia insane

So shut up, you rogue and peasant

Grow up, it¹s most unpleasant

Cheer up, you melancholy Dane

---

IRS Circular 230 Notice Requirement: This communication is not given in the form of a covered opinion, within the meaning of Circular 230 issued by the United States Secretary of the Treasury. Thus, we are required to inform you that you cannot rely upon any tax advice contained in this communication for the purpose of avoiding United States federal tax penalties. In addition, any tax advice contained in this communication may not be used to promote, market or recommend a transaction to another party.

The information contained in this e-mail message is intended only for the personal and confidential use of the recipient(s) named above. If you have received this communication in error, please notify us immediately by e-mail, and delete the original message. _______________________________________________ Weeklong-l mailing list Weeklong-l@lists.wikimedia.org https://lists.wikimedia.org/mailman/listinfo/weeklong-l

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Just wanted to be sure someone suggested bottoms dream. I like it so much better than prospero's

Love you sweetie Terry

Sent from my iPhone

On May 22, 2010, at 11:27 PM, Alice Gordon alicegordon@earthlink.net wrote:

To all, my apologies for not getting the complete list to you tonight. Blue Mountain Center duties interfered. But tomorrow you'll have it in the afternoon to refer to in case you have last-minute wishes.

...

From: James Ayres jayres@cvctx.com Reply-To: weeklong-l@lists.wikimedia.org Date: Sun, 16 May 2010 16:54:12 -0700 To: weeklong-l@lists.wikimedia.org Subject: Re: [Weeklong-l] Round II

Bob:

This is wonderful ! Thanks very much.

Doc On May 15, 2010, at 11:46 PM, Pees, Robert wrote:

...

I also really like Gail’s idea of starting with children of storms and moving on to the softening of hearts. One of the reasons that the reconciliation scenes are so powerful is that they were preceded by jolting dislocations—monumental storms, whether meteorologica l or personal. When Cordelia says that she has “no cause, no cau se,” we recall that she indeed has cause to resent her thundering father. When Hermione emerges warm and alive from her statue-like posture, we recall her previously standing stony-still in a trial- like setting while Leontes charged her with infidelity and treason. So, if feasible within our format, we might want to include earlier scenes from the same plays that fuel the emotions that we feel when we see and hear these reconciliation scenes. And as Jeff observes, scenes from different plays can also reverberate and infuse and reinforce themes. The possibilities are truly infinite. Below are a bunch of ideas, some of which incorporate scene suggestions already made, some of which are new (for example, the silly songs from the TV series “Slings and Arrow), and some of which are designed just to continue the conversation about how to mix and match all of the ideas that are coming in. The list below divides the themes of Mystery/Magic/Reunion/Reconciliation into two broad categories (mystery/magic on the one hand, and reunion/ reconciliation on the other) separated by an intermission, but that’s just arbitrary on my part. If I had to pick only a few personal favorites from the list below, I would go with the statue scene in The Winter’s Tale, Lear’s awakening before Cordelia, and the Falstaff scenes. Part 1: Magic and Mystery A bell rings twelve times. Prologue: ‘Tis now the very witching time of night,…(Hamlet 3.2) (“‘Tis now the very witching time of night” through “To give them seals never my soul consent”) Scene 1: The Weird Sisters, the Three Apparitions and the Show of Eight Kings and Banquo (Macbeth 4.1)(“Thrice the brinded cat hath mewed” through end) Alternative Scene 1: The Weird Sisters (Macbeth 1.3)(“Where has thou been sister?” through “Till then enough—Come friends.”) Transition 1: The Mackers Song (from the Canadian television series Slings and Arrows): Call me superstitious or cowardly or weak But I’ll never play a character Whose name one dare not speak I’ll play Hamlet In doublet and hose Or either of the Dromios But sorry, I won’t play Mackers I’ll play Richard the Third With a hump and wig Or Henry the Eighth That selfish pig But sorry, I don’t do Mackers Every soul that plays this role Risks injury or death I’d rather sweep the bloody stage Than ever do Mac-you-know-who So gimme King Lear Cleopatra Romeo, Juliet Doesn’t matter I’ll play them all for free But I’d be crackers To take on Mackers You see, I’m skittish about the Scottish tragedy Scene 2: Bottom’s Transformation and a Spell-bound Titania (A Midsummer Night’s Dream 3.1)(“I see their knavery. This is to make an ass of me” through “Tie up my love’s tongue; bring him silently.) Transition 2: Mercutio’s Queen Mab Speech (Romeo and Juliet, 1.4) (“O, then I see Queen Mab hath been with you” through “Turning his face to the dew-dropping south.”) Scene 3: Othello’s Denial of Sorcery (Othello, 1.2) (“O thou foul thief, where has thou stored my daughter?/Damned as thou art, thou has enchanted her,/For I’ll refer me to all things of sense/If she in chains of magic were not bound” through “She lov’d me for the dangers I had pass’d,/And I lov’d her that she did pity them./ This only is the witchcraft I have us’d’) Alternative Scene 3: “There’s witchcraft in your lips”--Hen ry’s wooing of Katherine” (Henry V, 5.2)(“Fair Katherine, and most f air/ Will you vouchsafe to teach a soldier terms” through “There’s witchcraft in your lips) Transition 3: What potions have I drunk (Sonnet 119):

What potions have I drunk of Siren tears, Distill'd from limbecks foul as hell within, Applying fears to hopes and hopes to fears, Still losing when I saw myself to win! What wretched errors hath my heart committed, Whilst it hath thought itself so blessed never! How have mine eyes out of their spheres been fitted In the distraction of this madding fever! O benefit of ill! now I find true That better is by evil still made better; And ruin'd love, when it is built anew, Grows fairer than at first, more strong, far greater. So I return rebuked to my content And gain by ill thrice more than I have spent.

Scene 4: Apollo’s oracle reveals the truth to an unbelieving Leontes (The Winter’s Tale 3.2)(This scene, which incorporates the trial of Hermione, fills the emotional reservoir eventually tapped by the statue scene in Act 5) Transition 4: Antigonus’s dream (The Winter’s Tale 3.3)(Come, poor babe:/I have heard but not believed,/The spirits o’ the dead/ May walk again…” through “Exit, pursued by a bear”) Scene 5: The Resuscitation of Thaisa (Pericles 3.2) Transition 5: Prospero’s riff on Medea’s Incantation a/k/a “Ye elves” speech (Tempest 5.1, 1-56)(“Ye elves of hills, brooks, standing lakes and groves” through “I’ll drown my book”)

{Intermission}

Part 2: Reunion and Reconciliation Prologue: A bitter reunion—Hal banishes Falstaff (2 Henry IV 5.4) (Trumpets sound. A royal procession swells the stage. “God save thy grace, King Hal, my royal Hal” through “Take them away”) Scene 1: The family reunion from hell—Lear and his daughters ( King Lear 1.1)(Lear’s scorching treatment of his youngest daughter w ould be cause for resentment by most children—which renders all the more astonishing her words “No cause, no cause” in Act 4, scene 7.) Transition 1: A Walk in the Rain (song from Slings and Arrows): When life takes its toll When fate treats you bad You used to be king And now you’ve been had Alone with your fool You think you’ll go mad It’s nice to take a walk in the rain A stomp through a storm Is what I’d advise When people you trust Tell nothing but lies And kidnap your friend And gouge out his eyes It’s nice to take a walk in the rain You say your daughters Are evil plotters A pitter patter shower will keep you sane When all has been said And all have been slain It’s good to take a walk in the rain For several hours Helps to have a howl in the rain Without your clothes on Nice to take a walk in the rain. Scene 2: Feste’s reunion with Olivia—the fool consoles the fool (Twelfth Night 1.5)(“Nay, either tell me where thou has been…” through “the fool should look to the madman”)[to echo the prior comical song “A Walk in the Rain” in transition 1, Feste could perhaps enter singing a couple of stanzas of “When that I was a nd a tiny little boy/With hey, ho, the wind and the rain] Transition 2: “Remembrance of Things Past” (Sonnet 30):

When to the sessions of sweet silent thought I summon up remembrance of things past, I sigh the lack of many a thing I sought, And with old woes new wail my dear time's waste: Then can I drown an eye, unused to flow, For precious friends hid in death's dateless night, And weep afresh love's long since cancell'd woe, And moan the expense of many a vanish'd sight: Then can I grieve at grievances foregone, And heavily from woe to woe tell o'er The sad account of fore-bemoaned moan, Which I new pay as if not paid before. But if the while I think on thee, dear friend, All losses are restored and sorrows end.

Scene 3: Hermione Reunites with Perdita (The Winter’s Tale 5.3) Transition 3: The Dance of the Twelve Satyrs (The Winter’s Tale, IV, iv)(“Master, there is three carters, three shepherds, …” thr ough “Here a dance of twelve Satyrs Scene 4: Thaisa Reunites with Pericles and Marina (Pericles 5.3) Transition 4: “Full Fathom Five” (song from The Tempest”) Scene 5: A reunion on heaven’s threshold—Lear awakens to Cord elia (King Lear 4.7) Transition 5: The Chimes at Midnight—Falstaff and Shallow reme mber good times (2 Henry IV 3.2)(“Come, I will go drink with you,…” through “Jesus, the days that we have seen. Come, come.”)(In s tark contrast to the ambitious Hal, Justice Shallow is the steadfast friend to the fat knight.) A bell rings twelve times. And maybe a robust finale consisting of a song and/or dance, perhaps Cole Porter’s “Brush Up Your Shakespeare” or the following song from Season One of the television series “Slings and Arrows”: Cheer Up, Hamlet Cheer up, Hamlet

Chin up, Hamlet

Buck up, you melancholy Dane

So your uncle is a cad Who murdered Dad and married Mum

That’s really no excuse to be as glum as you’ve become

So wise up, Hamlet

Rise up, Hamlet

Buck up and sing the new refrain

Your incessant monologizing fills the castle with ennui

Your antic disposition is embarrassing to see

And by the way, you sulky brat, the answer is “TO BE”!

You’re driving poor Ophelia insane

So shut up, you rogue and peasant

Grow up, it’s most unpleasant

Cheer up, you melancholy Dane

---

IRS Circular 230 Notice Requirement: This communication is not given in the form of a covered opinion, within the meaning of Circular 230 issued by the United States Secretary of the Treasury. Thus, we are required to inform you that you cannot rely upon any tax advice contained in this communication for the purpose of avoiding United States federal tax penalties. In addition, any tax advice contained in this communication may not be used to promote, market or recommend a transaction to another party.

The information contained in this e-mail message is intended only for the personal and confidential use of the recipient(s) named above. If you have received this communication in error, please notify us immediately by e-mail, and delete the original message. _______________________________________________ Weeklong-l mailing list Weeklong-l@lists.wikimedia.org https://lists.wikimedia.org/mailman/listinfo/weeklong-l

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Thank you Terry! I also agree. Anything from MND and Sweet Bully Bottom (who always has a ..device to make all well.... ). It has such a ring of Shakespeare @ Winedale all through it. I've always looked at the students beginning any Shakespeare play as RUde Mechanicals...we struggle, we do our best and in spite of it all (our speech being a ...tangled chain, nothing impaired but disordered..., that.... ask some tears in the true performing....), it is from the heart and though perhaps crude, still beautiful.

Also, is there any way to get Hamlet's "you would play upon me...." speech in there somewhere - III, ii 350-357. Also the Player's speech from Hamlet....III,ii or any of that act starting with Hamlet's instructions to the players III, ii 1-?...and including ...the purpose of playing, ....is, to hold, ....the mirror up to nature.......show virtue her own feature, scorn her own image.....)? Again, there is so much use of the term Player or Play in Hamlet.....indeed, throughout the works of Shakespeare the word Play or Player versus the word Act or Actor is about 3 to 1. We are Players.....the Play is the Thing! Anon Dear Ones!

----- Original Message ----- From: Terry Gallowaymailto:tlgalloway@aol.com To: weeklong-l@lists.wikimedia.orgmailto:weeklong-l@lists.wikimedia.org Sent: Sunday, May 23, 2010 5:59 AM Subject: Re: [Weeklong-l] Round II

Just wanted to be sure someone suggested bottoms dream. I like it so much better than prospero's

Love you sweetie Terry

Sent from my iPhone

On May 22, 2010, at 11:27 PM, Alice Gordon <alicegordon@earthlink.netmailto:alicegordon@earthlink.net> wrote:

To all, my apologies for not getting the complete list to you tonight. Blue Mountain Center duties interfered. But tomorrow you'll have it in the afternoon to refer to in case you have last-minute wishes.

...

From: James Ayres <jayres@cvctx.commailto:jayres@cvctx.com> Reply-To: <weeklong-l@lists.wikimedia.orgmailto:weeklong-l@lists.wikimedia.org> Date: Sun, 16 May 2010 16:54:12 -0700 To: <weeklong-l@lists.wikimedia.orgmailto:weeklong-l@lists.wikimedia.org> Subject: Re: [Weeklong-l] Round II

Bob:

This is wonderful ! Thanks very much.

Doc On May 15, 2010, at 11:46 PM, Pees, Robert wrote:

...

I also really like Gail’s idea of starting with children of storms and moving on to the softening of hearts. One of the reasons that the reconciliation scenes are so powerful is that they were preceded by jolting dislocations—monumental storms, whether meteorologica l or personal. When Cordelia says that she has “no cause, no cau se,” we recall that she indeed has cause to resent her thundering father. When Hermione emerges warm and alive from her statue-like posture, we recall her previously standing stony-still in a trial- like setting while Leontes charged her with infidelity and treason. So, if feasible within our format, we might want to include earlier scenes from the same plays that fuel the emotions that we feel when we see and hear these reconciliation scenes. And as Jeff observes, scenes from different plays can also reverberate and infuse and reinforce themes. The possibilities are truly infinite. Below are a bunch of ideas, some of which incorporate scene suggestions already made, some of which are new (for example, the silly songs from the TV series “Slings and Arrow), and some of which are designed just to continue the conversation about how to mix and match all of the ideas that are coming in. The list below divides the themes of Mystery/Magic/Reunion/Reconciliation into two broad categories (mystery/magic on the one hand, and reunion/ reconciliation on the other) separated by an intermission, but that’s just arbitrary on my part. If I had to pick only a few personal favorites from the list below, I would go with the statue scene in The Winter’s Tale, Lear’s awakening before Cordelia, and the Falstaff scenes. Part 1: Magic and Mystery A bell rings twelve times. Prologue: ‘Tis now the very witching time of night,…(Hamlet 3.2) (“‘Tis now the very witching time of night” through “To give them seals never my soul consent”) Scene 1: The Weird Sisters, the Three Apparitions and the Show of Eight Kings and Banquo (Macbeth 4.1)(“Thrice the brinded cat hath mewed” through end) Alternative Scene 1: The Weird Sisters (Macbeth 1.3)(“Where has thou been sister?” through “Till then enough—Come friends.”) Transition 1: The Mackers Song (from the Canadian television series Slings and Arrows): Call me superstitious or cowardly or weak But I’ll never play a character Whose name one dare not speak I’ll play Hamlet In doublet and hose Or either of the Dromios But sorry, I won’t play Mackers I’ll play Richard the Third With a hump and wig Or Henry the Eighth That selfish pig But sorry, I don’t do Mackers Every soul that plays this role Risks injury or death I’d rather sweep the bloody stage Than ever do Mac-you-know-who So gimme King Lear Cleopatra Romeo, Juliet Doesn’t matter I’ll play them all for free But I’d be crackers To take on Mackers You see, I’m skittish about the Scottish tragedy Scene 2: Bottom’s Transformation and a Spell-bound Titania (A Midsummer Night’s Dream 3.1)(“I see their knavery. This is to make an ass of me” through “Tie up my love’s tongue; bring him silently.) Transition 2: Mercutio’s Queen Mab Speech (Romeo and Juliet, 1.4) (“O, then I see Queen Mab hath been with you” through “Turning his face to the dew-dropping south.”) Scene 3: Othello’s Denial of Sorcery (Othello, 1.2) (“O thou foul thief, where has thou stored my daughter?/Damned as thou art, thou has enchanted her,/For I’ll refer me to all things of sense/If she in chains of magic were not bound” through “She lov’d me for the dangers I had pass’d,/And I lov’d her that she did pity them./ This only is the witchcraft I have us’d’) Alternative Scene 3: “There’s witchcraft in your lips”--Hen ry’s wooing of Katherine” (Henry V, 5.2)(“Fair Katherine, and most f air/ Will you vouchsafe to teach a soldier terms” through “There’s witchcraft in your lips) Transition 3: What potions have I drunk (Sonnet 119):

What potions have I drunk of Siren tears, Distill'd from limbecks foul as hell within, Applying fears to hopes and hopes to fears, Still losing when I saw myself to win! What wretched errors hath my heart committed, Whilst it hath thought itself so blessed never! How have mine eyes out of their spheres been fitted In the distraction of this madding fever! O benefit of ill! now I find true That better is by evil still made better; And ruin'd love, when it is built anew, Grows fairer than at first, more strong, far greater. So I return rebuked to my content And gain by ill thrice more than I have spent.

Scene 4: Apollo’s oracle reveals the truth to an unbelieving Leontes (The Winter’s Tale 3.2)(This scene, which incorporates the trial of Hermione, fills the emotional reservoir eventually tapped by the statue scene in Act 5) Transition 4: Antigonus’s dream (The Winter’s Tale 3.3)(Come, poor babe:/I have heard but not believed,/The spirits o’ the dead/ May walk again…” through “Exit, pursued by a bear”) Scene 5: The Resuscitation of Thaisa (Pericles 3.2) Transition 5: Prospero’s riff on Medea’s Incantation a/k/a “Ye elves” speech (Tempest 5.1, 1-56)(“Ye elves of hills, brooks, standing lakes and groves” through “I’ll drown my book”)

{Intermission}

Part 2: Reunion and Reconciliation Prologue: A bitter reunion—Hal banishes Falstaff (2 Henry IV 5.4) (Trumpets sound. A royal procession swells the stage. “God save thy grace, King Hal, my royal Hal” through “Take them away”) Scene 1: The family reunion from hell—Lear and his daughters ( King Lear 1.1)(Lear’s scorching treatment of his youngest daughter w ould be cause for resentment by most children—which renders all the more astonishing her words “No cause, no cause” in Act 4, scene 7.) Transition 1: A Walk in the Rain (song from Slings and Arrows): When life takes its toll When fate treats you bad You used to be king And now you’ve been had Alone with your fool You think you’ll go mad It’s nice to take a walk in the rain A stomp through a storm Is what I’d advise When people you trust Tell nothing but lies And kidnap your friend And gouge out his eyes It’s nice to take a walk in the rain You say your daughters Are evil plotters A pitter patter shower will keep you sane When all has been said And all have been slain It’s good to take a walk in the rain For several hours Helps to have a howl in the rain Without your clothes on Nice to take a walk in the rain. Scene 2: Feste’s reunion with Olivia—the fool consoles the fool (Twelfth Night 1.5)(“Nay, either tell me where thou has been…” through “the fool should look to the madman”)[to echo the prior comical song “A Walk in the Rain” in transition 1, Feste could perhaps enter singing a couple of stanzas of “When that I was a nd a tiny little boy/With hey, ho, the wind and the rain] Transition 2: “Remembrance of Things Past” (Sonnet 30):

When to the sessions of sweet silent thought I summon up remembrance of things past, I sigh the lack of many a thing I sought, And with old woes new wail my dear time's waste: Then can I drown an eye, unused to flow, For precious friends hid in death's dateless night, And weep afresh love's long since cancell'd woe, And moan the expense of many a vanish'd sight: Then can I grieve at grievances foregone, And heavily from woe to woe tell o'er The sad account of fore-bemoaned moan, Which I new pay as if not paid before. But if the while I think on thee, dear friend, All losses are restored and sorrows end.

Scene 3: Hermione Reunites with Perdita (The Winter’s Tale 5.3) Transition 3: The Dance of the Twelve Satyrs (The Winter’s Tale, IV, iv)(“Master, there is three carters, three shepherds, …” thr ough “Here a dance of twelve Satyrs Scene 4: Thaisa Reunites with Pericles and Marina (Pericles 5.3) Transition 4: “Full Fathom Five” (song from The Tempest”) Scene 5: A reunion on heaven’s threshold—Lear awakens to Cord elia (King Lear 4.7) Transition 5: The Chimes at Midnight—Falstaff and Shallow reme mber good times (2 Henry IV 3.2)(“Come, I will go drink with you,…” through “Jesus, the days that we have seen. Come, come.”)(In s tark contrast to the ambitious Hal, Justice Shallow is the steadfast friend to the fat knight.) A bell rings twelve times. And maybe a robust finale consisting of a song and/or dance, perhaps Cole Porter’s “Brush Up Your Shakespeare” or the following song from Season One of the television series “Slings and Arrows”: Cheer Up, Hamlet Cheer up, Hamlet

Chin up, Hamlet

Buck up, you melancholy Dane

So your uncle is a cad Who murdered Dad and married Mum

That’s really no excuse to be as glum as you’ve become

So wise up, Hamlet

Rise up, Hamlet

Buck up and sing the new refrain

Your incessant monologizing fills the castle with ennui

Your antic disposition is embarrassing to see

And by the way, you sulky brat, the answer is “TO BE”!

You’re driving poor Ophelia insane

So shut up, you rogue and peasant

Grow up, it’s most unpleasant

Cheer up, you melancholy Dane

---

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I second everything Bruce so bravely stated and I, too, hope we shall have cakes and ale with all the vitamins and nutrition proposed.. "a merry heart...." As our dear Delphine Heinze (sp) once said, I don't understand all der words .... but I like der funny parts...... Your most respectfully, Joy ----- Original Message ----- From: Bruce Meyermailto:Bruce.Meyer@UTSouthwestern.edu To: weeklong-l@lists.wikimedia.orgmailto:weeklong-l@lists.wikimedia.org Sent: Sunday, May 16, 2010 1:36 PM Subject: Re: [Weeklong-l] Round II

My admiration for the depth of Shakespeare knowledge that you people are showing is frightening! wish I had the time and the courage.

I agree that the reconciliation scenes will not ring true unless we have shown the power of the separation.

Will again make a plea for some comedy... surely there can be some joy and laughter in a world of Mystery/Magic/Reunion/Reconciliation!

...

...

"Pees, Robert" <rpees@AkinGump.commailto:rpees@AkinGump.com> 5/16/2010 1:46 AM >>>

I also really like Gail’s idea of starting with children of storms and moving on to the softening of hearts. One of the reasons that the reconciliation scenes are so powerful is that they were preceded by jolting dislocations—monumental storms, whether meteorological or personal. When Cordelia says that she has “no cause, no cause,” we recall that she indeed has cause to resent her thundering father. When Hermione emerges warm and alive from her statue-like posture, we recall her previously standing stony-still in a trial-like setting while Leontes charged her with infidelity and treason. So, if feasible within our format, we might want to include earlier scenes from the same plays that fuel the emotions that we feel when we see and hear these reconciliation scenes. And as Jeff observes, scenes from different plays can also reverberate and infuse and reinforce themes. The possibilities are truly infinite. Below are a bunch of ideas, some of which incorporate scene suggestions already made, some of which are new (for example, the silly songs from the TV series “Slings and Arrow), and some of which are designed just to continue the conversation about how to mix and match all of the ideas that are coming in. The list below divides the themes of Mystery/Magic/Reunion/Reconciliation into two broad categories (mystery/magic on the one hand, and reunion/reconciliation on the other) separated by an intermission, but that’s just arbitrary on my part. If I had to pick only a few personal favorites from the list below, I would go with the statue scene in The Winter’s Tale, Lear’s awakening before Cordelia, and the Falstaff scenes. Part 1: Magic and Mystery A bell rings twelve times. Prologue: ‘Tis now the very witching time of night,…(Hamlet 3.2)(“‘Tis now the very witching time of night” through “To give them seals never my soul consent”) Scene 1: The Weird Sisters, the Three Apparitions and the Show of Eight Kings and Banquo (Macbeth 4.1)(“Thrice the brinded cat hath mewed” through end) Alternative Scene 1: The Weird Sisters (Macbeth 1.3)(“Where has thou been sister?” through “Till then enough—Come friends.”) Transition 1: The Mackers Song (from the Canadian television series Slings and Arrows): Call me superstitious or cowardly or weak But I’ll never play a character Whose name one dare not speak I’ll play Hamlet In doublet and hose Or either of the Dromios But sorry, I won’t play Mackers I’ll play Richard the Third With a hump and wig Or Henry the Eighth That selfish pig But sorry, I don’t do Mackers Every soul that plays this role Risks injury or death I’d rather sweep the bloody stage Than ever do Mac-you-know-who So gimme King Lear Cleopatra Romeo, Juliet Doesn’t matter I’ll play them all for free But I’d be crackers To take on Mackers You see, I’m skittish about the Scottish tragedy Scene 2: Bottom’s Transformation and a Spell-bound Titania (A Midsummer Night’s Dream 3.1)(“I see their knavery. This is to make an ass of me” through “Tie up my love’s tongue; bring him silently.) Transition 2: Mercutio’s Queen Mab Speech (Romeo and Juliet, 1.4)(“O, then I see Queen Mab hath been with you” through “Turning his face to the dew-dropping south.”) Scene 3: Othello’s Denial of Sorcery (Othello, 1.2) (“O thou foul thief, where has thou stored my daughter?/Damned as thou art, thou has enchanted her,/For I’ll refer me to all things of sense/If she in chains of magic were not bound” through “She lov’d me for the dangers I had pass’d,/And I lov’d her that she did pity them./This only is the witchcraft I have us’d’) Alternative Scene 3: “There’s witchcraft in your lips”--Henry’s wooing of Katherine” (Henry V, 5.2)(“Fair Katherine, and most fair/Will you vouchsafe to teach a soldier terms” through “There’s witchcraft in your lips) Transition 3: What potions have I drunk (Sonnet 119):

What potions have I drunk of Siren tears, Distill'd from limbecks foul as hell within, Applying fears to hopes and hopes to fears, Still losing when I saw myself to win! What wretched errors hath my heart committed, Whilst it hath thought itself so blessed never! How have mine eyes out of their spheres been fitted In the distraction of this madding fever! O benefit of ill! now I find true That better is by evil still made better; And ruin'd love, when it is built anew, Grows fairer than at first, more strong, far greater. So I return rebuked to my content And gain by ill thrice more than I have spent.

Scene 4: Apollo’s oracle reveals the truth to an unbelieving Leontes (The Winter’s Tale 3.2)(This scene, which incorporates the trial of Hermione, fills the emotional reservoir eventually tapped by the statue scene in Act 5) Transition 4: Antigonus’s dream (The Winter’s Tale 3.3)(Come, poor babe:/I have heard but not believed,/The spirits o’ the dead/May walk again…” through “Exit, pursued by a bear”) Scene 5: The Resuscitation of Thaisa (Pericles 3.2) Transition 5: Prospero’s riff on Medea’s Incantation a/k/a “Ye elves” speech (Tempest 5.1, 1-56)(“Ye elves of hills, brooks, standing lakes and groves” through “I’ll drown my book”)

{Intermission}

Part 2: Reunion and Reconciliation Prologue: A bitter reunion—Hal banishes Falstaff (2 Henry IV 5.4)(Trumpets sound. A royal procession swells the stage. “God save thy grace, King Hal, my royal Hal” through “Take them away”) Scene 1: The family reunion from hell—Lear and his daughters (King Lear 1.1)(Lear’s scorching treatment of his youngest daughter would be cause for resentment by most children—which renders all the more astonishing her words “No cause, no cause” in Act 4, scene 7.) Transition 1: A Walk in the Rain (song from Slings and Arrows): When life takes its toll When fate treats you bad You used to be king And now you’ve been had Alone with your fool You think you’ll go mad It’s nice to take a walk in the rain A stomp through a storm Is what I’d advise When people you trust Tell nothing but lies And kidnap your friend And gouge out his eyes It’s nice to take a walk in the rain You say your daughters Are evil plotters A pitter patter shower will keep you sane When all has been said And all have been slain It’s good to take a walk in the rain For several hours Helps to have a howl in the rain Without your clothes on Nice to take a walk in the rain. Scene 2: Feste’s reunion with Olivia—the fool consoles the fool (Twelfth Night 1.5)(“Nay, either tell me where thou has been…” through “the fool should look to the madman”)[to echo the prior comical song “A Walk in the Rain” in transition 1, Feste could perhaps enter singing a couple of stanzas of “When that I was and a tiny little boy/With hey, ho, the wind and the rain] Transition 2: “Remembrance of Things Past” (Sonnet 30):

When to the sessions of sweet silent thought I summon up remembrance of things past, I sigh the lack of many a thing I sought, And with old woes new wail my dear time's waste: Then can I drown an eye, unused to flow, For precious friends hid in death's dateless night, And weep afresh love's long since cancell'd woe, And moan the expense of many a vanish'd sight: Then can I grieve at grievances foregone, And heavily from woe to woe tell o'er The sad account of fore-bemoaned moan, Which I new pay as if not paid before. But if the while I think on thee, dear friend, All losses are restored and sorrows end.

Scene 3: Hermione Reunites with Perdita (The Winter’s Tale 5.3) Transition 3: The Dance of the Twelve Satyrs (The Winter’s Tale, IV, iv)(“Master, there is three carters, three shepherds, …” through “Here a dance of twelve Satyrs Scene 4: Thaisa Reunites with Pericles and Marina (Pericles 5.3) Transition 4: “Full Fathom Five” (song from The Tempest”) Scene 5: A reunion on heaven’s threshold—Lear awakens to Cordelia (King Lear 4.7) Transition 5: The Chimes at Midnight—Falstaff and Shallow remember good times (2 Henry IV 3.2)(“Come, I will go drink with you,…” through “Jesus, the days that we have seen. Come, come.”)(In stark contrast to the ambitious Hal, Justice Shallow is the steadfast friend to the fat knight.) A bell rings twelve times. And maybe a robust finale consisting of a song and/or dance, perhaps Cole Porter’s “Brush Up Your Shakespeare” or the following song from Season One of the television series “Slings and Arrows”: Cheer Up, Hamlet Cheer up, Hamlet 
Chin up, Hamlet
 Buck up, you melancholy Dane
 So your uncle is a cad Who murdered Dad and married Mum
 That’s really no excuse to be as glum as you’ve become
 So wise up, Hamlet 
Rise up, Hamlet 
Buck up and sing the new refrain
 Your incessant monologizing fills the castle with ennui
 Your antic disposition is embarrassing to see
 And by the way, you sulky brat, the answer is “TO BE”!
 You’re driving poor Ophelia insane
 So shut up, you rogue and peasant
 Grow up, it’s most unpleasant
 Cheer up, you melancholy Dane

____________________________________ IRS Circular 230 Notice Requirement: This communication is not given in the form of a covered opinion, within the meaning of Circular 230 issued by the United States Secretary of the Treasury. Thus, we are required to inform you that you cannot rely upon any tax advice contained in this communication for the purpose of avoiding United States federal tax penalties. In addition, any tax advice contained in this communication may not be used to promote, market or recommend a transaction to another party.

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Guys, I just want to say that I am so glad to be on this list. I think we are going to end up with a show that is the perfect blend of tragedy and comedy and I know we'll squeeze every last drop of magic and miracle out of it.

I haven't been able to participate with the energy I had hoped. But please know how much I love being swept up in the group's collective energy and genius.

One question -- exactly what day are we performing? I have Saturday August 14th. Is that correct?

Love, Terry, the still slightly addled.

-----Original Message----- From: James Ayres jayres@cvctx.com To: weeklong-l@lists.wikimedia.org Sent: Fri, May 14, 2010 10:03 pm Subject: Re: [Weeklong-l] Round II

The lost/found is everywhere in the final plays, Pericles/Thaisa/Marina (all three lost), Posthumus/Innogen/her bros, Hermione/Perdita, and according to Gonzalo, everyone. And, of course, the reconciliations are wonderful, though I have a bit of trouble with the Cym ending. We did All's Well once with a really great ending, with bobo Bertie finally coming around. And indeed I still remember the wonderful ending of CE. RE: magic, what about Roz at the end of AYL, and Mistress Quickly and the fairy gang in MWW? Some brief transitions : Antigonus "dream," Queen Mab. Innogen(Fidele) "awakening."

Hope I am not intruding. But thought of those.

Doc

On May 14, 2010, at 7:59 AM, McDonald G. wrote:

Dear all,

The recent posts remind me of something.

I've just been teaching Joyce's Ulysses. Here's something pertinent that Stephen Dedalus says about why he prefers the romances to the tragedies of Shakespeare:

--If you want to know what are the events which cast their shadow over the hell of time of King Lear, Othello, Hamlet, Troilus and Cressida, look to see when and how the shadow lifts. What softens the heart of a man, shipwrecked in storms dire. Tried, like another Ulysses, Pericles, prince of Tyre?

--Marina,. Stephen said, a child of storm, Miranda, a wonder, Perdita, that which was lost. what was lost is given back to him....

One idea might be to start with the children of storms--and move on to softening of hearts.

Love to all,

Gail

From: weeklong-l-bounces@lists.wikimedia.org [mailto:weeklong-l-bounces@lists.wikimedia.org] On Behalf Of Mike Godwin Sent: 14 May 2010 15:44 To: weeklong-l@lists.wikimedia.org Subject: Re: [Weeklong-l] Round II

Tempest, Act IV, Sc. 1.

--m

On Thu, May 13, 2010 at 8:15 PM, Mary Collins mmcollins50@yahoo.com wrote:

Greetings, All!

Thanks for all the ideas that poured out in the last couple of weeks. They were a wellspring of inspiration. Now, we are asking that you focus your scene suggestions on ideas related to the themes "Mystery/Magic/Reunion/Reconciliation". (Past reunions have been built around "Fools and Madmen/Masking," "Deception," and "Dream and Play.") In order to help us with the monumental culling process ahead, please resubmit any scenes you have already submitted if you feel they fit the themes.

We are thinking about a structure for the performance that would include transitions between scenes, so as to accommodate all the weekenders who might want to perform. It would look something like:

PART I (Intro/Prologue) Scene 1 Transition 1 Scene 2 Transition 2 Scene 3 Transition 3 ETC.

Intermission

PART II (Prologue?) More scenes/transitions Finale

For transitions, there could be anything from poetry to song to dance to monologues .... whatever weekend people would like to contribute; weeklongers could sign up, too.

In '05, the performance went on for close to 4 hrs., which was too long. We think we should aim at 1.5, followed by 20 minute intermission and come back with a 1 hr closing. Figuring now: If we limited the scenes to 10 minutes and the interludes to 3 minutes, we could do 11 scenes and 10 interludes within the 150 minute period comfortably. The number of scenes will depend upon what scenes are selected, of course - many scenes seem to run 10-12 minutes.

The day of the reunion is meant to be a day full of performances. There will be opportunities available to do something at the brunch, at a pre-performance moment, and later, at the banquet. (During these times, we won't necessarily be concerned about theme). We "week-longers" should remember that those opportunities exist for us (if we have time!), as well as for the week-enders (anyone want to name these two groups, please??) and we hope to capture three or four Camp Shakespeare kids for some things.

We are setting a deadline for contributing ideas/brainstorming of Sunday, May 23, which gives all of us ten days to read, think, dream, put it out there.

Thanks, and more thanks.

Cheers,

Doc and the Gals.

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=

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Dear Everybody,

I'm attaching my list of favorites but am very, very open to being overruled. I loved these choices from the start. I'm assuming that we can work in bit and pieces of song, dance, and poetry as transitions between scenes so I've not marked any of those. My favorites are highlighted.

Warmest best wishes, Gail ________________________________________ From: weeklong-l-bounces@lists.wikimedia.org [weeklong-l-bounces@lists.wikimedia.org] On Behalf Of Alice Gordon [alicegordon@earthlink.net] Sent: 29 May 2010 21:56 To: weeklong-l@lists.wikimedia.org Subject: [Weeklong-l] **IMPORTANT: Call to Reunion Action!**

Dear Fellow Winedale Weeklongians,

On behalf of Doc and the Committee of Cheerleaders, I hereby emit a big Go, Team, Go!

We would like to get the whole scenes-choosing and role-casting process done and roles disseminated by June 6, when the first session of Camp Shakespeare begins and Doc will be all-consumed by it. To meet that deadline, we must strictly adhere to the ones leading up to it.

Attached is the revised master list of scenes I sent you a few days ago. A a few people weighed in with a more ideas. Also, Robert Jackson, please forgive me for not including your list of scenes the first time around. It and newer material is now included and marked in bold-face type.

Here is the process just ahead: By Midnight, MAY 31: Send your top ten scenes to alicegordon@earthlink.net. (I will immediately forward all lists to Doc and the Committee. Just trying to give everyone only one email address to type in.) Considering the themes we’ve all been talking about, please send us your top ten scenes from the complete list. Feel free either to cherry-pick from the list; to vote for one of the concepts sketched out or fully fledged by Gail, Robert P, Robert J, or Matt; or to choose both concept and scenes to make your own list. (If I have overlooked other concepts since the whole group has been talking, please remind us all as soon as you can). Kathy and Jayne’s and Clayton’s proposals seem ways and examples of how to approach any group of scenes once we’re at Winedale, and feel free to state your support or comments about such approaches as well. Our sense is that a lot of us are excited about what they are suggesting. Please keep in mind the time limit we’ve set forth and the number of participants in each scene. Doc urges us to favor ensemble scenes (six or more characters) in the balance, and also to balance longer and shorter scenes. Remember there will be weekenders and audience pop-ups with whom we will share the matinee. By June 2: Doc and Committee come up with final list of scenes. The committee and Doc will look at the preferences mathematically, see what rises to the top, and then work out the final choices by considering ensemble or what works better or what’s more appropriate for the context. Once we have the final list, it will be sent out to everybody. Please keep an eye on your email inbox that day. By June 3: Your requests or preferences, if any. When you get that list, please let us know if you have very special preferences for roles you would like to play or scenes you would like to take part in. Once we get that information, we’ll have at the casting. June 5: Deadline for roles to be cast. June 6: List of roles sent to whole group.

Courage! This will mean a fast week-plus coming up.

Make your best haste, All best wishes,

Alice

Clayton's comment reminded me of a quote from the director Peter Brook about the conclusion of his 1950 production of Measure for Measure:

"When I once staged the play, I asked Isabella, before kneeling for Angelo's life, to pause each night until she felt the audience could take it no longer, and this used to lead to a two-minute stopping of the play. The device became a voodoo pole, a silence in which all the invisible elements of the evening came together: a silence in which the abstract notion of mercy became concrete for that moment to those present."

________________________________________ From: weeklong-l-bounces@lists.wikimedia.org [weeklong-l-bounces@lists.wikimedia.org] On Behalf Of Clay Stromberger [cstromberger@mail.utexas.edu] Sent: Sunday, May 30, 2010 6:54 PM To: weeklong-l@lists.wikimedia.org Subject: [Weeklong-l] silence, sans shallow

Thanks again Alice for such careful gathering together of strands, akin to Mike's building of the email list.

Like Gail I look forward to the weaving in of other elements among and around the scenes.

There's one other element for which I was hoping to make a case, and I haven't mentioned this yet, perhaps because I'm not sure how to describe it, but here goes:

silence.

And I don't mean Master Shallow's tight-lipped (before drinking anyway) pal. I'm thinking about how many of my favorite Winedale memories involve a spell of silence and stillness in the Barn, everyone watching, rapt, during an improvisation or scene. The kind of silence where during the day the crackling heat outside shimmers, and during the night you suddenly hear the crickets very vividly and time seems suspended. As in the pause before the statue moves in WT.

I also think of those times where Doc sent us off alone on meditative treks in the woods in the afternoons to explore character or our Patchen poems, and no one spoke for an hour. Those moments come back to me often when I take a solo walk out there in the summer.

Not sure how that element would weave into a performance of song and play and reveling, but I'm tossing it out there in case it registers with anyone else....

thanks, and I'll send my list to you tomorrow Alice,

cs

On May 30, 2010, at 5:22 AM, McDonald G. wrote:

Dear Everybody,

I'm attaching my list of favorites but am very, very open to being overruled. I loved these choices from the start. I'm assuming that we can work in bit and pieces of song, dance, and poetry as transitions between scenes so I've not marked any of those. My favorites are highlighted.

Warmest best wishes, Gail ________________________________________ From: weeklong-l-bounces@lists.wikimedia.org [weeklong-l-bounces@lists.wikimedia.org] On Behalf Of Alice Gordon [alicegordon@earthlink.net] Sent: 29 May 2010 21:56 To: weeklong-l@lists.wikimedia.org Subject: [Weeklong-l] **IMPORTANT: Call to Reunion Action!**

Dear Fellow Winedale Weeklongians,

On behalf of Doc and the Committee of Cheerleaders, I hereby emit a big Go, Team, Go!

We would like to get the whole scenes-choosing and role-casting process done and roles disseminated by June 6, when the first session of Camp Shakespeare begins and Doc will be all-consumed by it. To meet that deadline, we must strictly adhere to the ones leading up to it.

Attached is the revised master list of scenes I sent you a few days ago. A a few people weighed in with a more ideas. Also, Robert Jackson, please forgive me for not including your list of scenes the first time around. It and newer material is now included and marked in bold-face type.

Here is the process just ahead: By Midnight, MAY 31: Send your top ten scenes to alicegordon@earthlink.net. (I will immediately forward all lists to Doc and the Committee. Just trying to give everyone only one email address to type in.) Considering the themes we’ve all been talking about, please send us your top ten scenes from the complete list. Feel free either to cherry-pick from the list; to vote for one of the concepts sketched out or fully fledged by Gail, Robert P, Robert J, or Matt; or to choose both concept and scenes to make your own list. (If I have overlooked other concepts since the whole group has been talking, please remind us all as soon as you can). Kathy and Jayne’s and Clayton’s proposals seem ways and examples of how to approach any group of scenes once we’re at Winedale, and feel free to state your support or comments about such approaches as well. Our sense is that a lot of us are excited about what they are suggesting. Please keep in mind the time limit we’ve set forth and the number of participants in each scene. Doc urges us to favor ensemble scenes (six or more characters) in the balance, and also to balance longer and shorter scenes. Remember there will be weekenders and audience pop-ups with whom we will share the matinee. By June 2: Doc and Committee come up with final list of scenes. The committee and Doc will look at the preferences mathematically, see what rises to the top, and then work out the final choices by considering ensemble or what works better or what’s more appropriate for the context. Once we have the final list, it will be sent out to everybody. Please keep an eye on your email inbox that day. By June 3: Your requests or preferences, if any. When you get that list, please let us know if you have very special preferences for roles you would like to play or scenes you would like to take part in. Once we get that information, we’ll have at the casting. June 5: Deadline for roles to be cast. June 6: List of roles sent to whole group.

Courage! This will mean a fast week-plus coming up.

Make your best haste, All best wishes,

Alice

<CompleteScenes2,_reunion[1].doc>_______________________________________________ Weeklong-l mailing list Weeklong-l@lists.wikimedia.org https://lists.wikimedia.org/mailman/listinfo/weeklong-l

Clayton Stromberger Outreach Coordinator UT Shakespeare at Winedale College of Liberal Arts, University of Texas at Austin www.shakespeare-winedale.org cell: 512-228-1055/ office: 512-471-4726

_______________________________________________ Weeklong-l mailing list Weeklong-l@lists.wikimedia.org https://lists.wikimedia.org/mailman/listinfo/weeklong-l ____________________________________ IRS Circular 230 Notice Requirement: This communication is not given in the form of a covered opinion, within the meaning of Circular 230 issued by the United States Secretary of the Treasury. Thus, we are required to inform you that you cannot rely upon any tax advice contained in this communication for the purpose of avoiding United States federal tax penalties. In addition, any tax advice contained in this communication may not be used to promote, market or recommend a transaction to another party.

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My first reply bounced so I'm resending, with a smaller file. Best, Gail

Dear Everybody,

I'm attaching my list of favorites but am very, very open to being overruled. I loved these choices from the start. I'm assuming that we can work in bit and pieces of song, dance, and poetry as transitions between scenes so I've not listed those. If I've gone slightly over, it's just so that we can show more of a given play to build toward the ending. I realise that I'm underrepresenting comedy, however and I guess I'd be willing to forfeit Pericles? If Jackson doesn't get to do Petruchio, though, it will be our loss!

Warmest best wishes, Gail

Pasting my choices here:

KING LEAR 2.4. Regan and Goneril dismantle Lear, culminating in Lear’s “O reason not the need” speech, right before he heads out into the storm. 4.7 Lear-Cordelia reconciliation (Lear awakes to Cordelia) NOTE: Gail once saw a group of RSC actors do the Pyramus and Thisbe scene from MND and segue from that straight into 'Howl, howl, howl', transforming P and T into L and C.

1 HENRY IV 3.2 Justice Shallow and Justice Silence reminiscing about their youths and absent friends. It is so, so right for us. It's the scene I'd most like to see on the menu.

MIDSUMMER 3.1. Bottom transformed and taken by Titania 3.2 Magicked lovers, lost and found in the forest Bottom's Dream and report to the Rude Mechanicals

WINTER’S TALE Paulina shows Leontes his infant child (and possibly the finding of Perdita by the shepherd?) 3.2 trial of Hermione 5.3, final scene – Hermione’s awakening.

PERICLES (Has a great party scene; and a shipwreck, when Marina is born and her mother Thaisa dies and has to go overboard.) 3.2 Thaisa revived by Cerimon (NOW YOU’RE TALKIN’ MAGIC) 5.1, 2, 3 Marina revives Pericles; they are united with Thaisa.

I need until June 1st!

Love, Terry

-----Original Message----- From: Stan Kern stan@texashealingarts.com To: weeklong-l@lists.wikimedia.org Sent: Mon, May 31, 2010 7:17 pm Subject: Re: [Weeklong-l] **IMPORTANT: Call to Reunion Action!**

Hey Weeklongians,

Alice and I just spoke and realized thatmany of you may not have opened the email of May 29th attached belowbecause of the holiday. We ask of you two favors: 1) Please give usa heigh ho via email if you got the email below, just to let us know it wentthrough to everyone and that we are all on the same page. 2) Let usknow if you need until June 1st.

Stan

KirstenKern,PhD, LMTI Texas Healing Arts Institute School of Massage, Day Spa and Clinic 7001 Burnet Road Austin, TX 78757 stan@texashealingarts.com 512 323 6042

From:weeklong-l-bounces@lists.wikimedia.org[mailto:weeklong-l-bounces@lists.wikimedia.org] On Behalf Of Alice Gordon Sent: Saturday, May 29, 2010 3:56PM To: weeklong-l@lists.wikimedia.org Subject: [Weeklong-l] **IMPORTANT:Call to Reunion Action!**

Dear Fellow Winedale Weeklongians,

On behalf of Doc and the Committee of Cheerleaders, I hereby emit a big Go,Team, Go!

We would like to get the whole scenes-choosing and role-casting process doneand roles disseminated by June 6, when the first session of Camp Shakespearebegins and Doc will be all-consumed by it. To meet that deadline, we muststrictly adhere to the ones leading up to it.

Attached is the revised master list of scenes I sent you a few days ago. A a fewpeople weighed in with a more ideas. Also, Robert Jackson, please forgive mefor not including your list of scenes the first time around. It and newermaterial is now included and marked in bold-facetype.

Here is the process just ahead: By Midnight, MAY 31: Send your top ten scenesto alicegordon@earthlink.net. (I will immediately forward alllists to Doc and the Committee. Just trying to give everyone only one emailaddress to type in.) Considering the themes we’ve all been talking about,please send us your top ten scenes from thecomplete list. Feel free either to cherry-pick from the list; tovote for one of the concepts sketched out or fully fledged by Gail, Robert P,Robert J, or Matt; or to choose both concept and scenes to make your own list. (IfI have overlooked other concepts since the whole group has been talking, pleaseremind us all as soon as you can). Kathy and Jayne’s and Clayton’sproposals seem ways and examples of how to approach any group of scenes oncewe’re at Winedale, and feel free to state your support or comments aboutsuch approaches as well. Our sense is that a lot of us are excited about whatthey are suggesting. Please keep in mind the time limit we’ve set forth andthe number of participants in each scene. Doc urges us to favor ensemble scenes(six or more characters) in the balance, and also to balance longer and shorterscenes. Remember there will be weekenders and audience pop-ups with whom wewill share the matinee. By June 2: Doc and Committee come up withfinal list of scenes. The committee and Doc will look at thepreferences mathematically, see what rises to the top, and then work out thefinal choices by considering ensemble or what works better or what’s moreappropriate for the context. Once we have the final list, it will be sent outto everybody. Please keep an eye on your email inbox that day. By June 3: Your requests or preferences, ifany. When you get that list, please let us know if you have veryspecial preferences for roles you would like to play or scenes you would liketo take part in. Once we get that information, we’ll have at the casting. June 5: Deadline for roles to be cast. June 6: List of roles sent to whole group.

Courage! This will mean a fast week-plus coming up.

Make your best haste, All best wishes,

Alice

No virus found in this incoming message. Checked by AVG - www.avg.com Version: 9.0.819 / Virus Database: 271.1.1/2908 - Release Date: 05/31/10 01:25:00

_______________________________________________ Weeklong-l mailing list Weeklong-l@lists.wikimedia.org https://lists.wikimedia.org/mailman/listinfo/weeklong-l

=

**IMPORTANT: Call to Reunion Action!**I received the email, and could use an extra day.

From: Stan Kern Sent: Monday, May 31, 2010 4:17 PM To: weeklong-l@lists.wikimedia.org Subject: Re: [Weeklong-l] **IMPORTANT: Call to Reunion Action!**

Hey Weeklongians,

Alice and I just spoke and realized that many of you may not have opened the email of May 29th attached below because of the holiday. We ask of you two favors: 1) Please give us a heigh ho via email if you got the email below, just to let us know it went through to everyone and that we are all on the same page. 2) Let us know if you need until June 1st.

Stan

Kirsten Kern,PhD, LMTI

Texas Healing Arts Institute

School of Massage, Day Spa and Clinic

7001 Burnet Road

Austin, TX 78757

stan@texashealingarts.com

512 323 6042

--------------------------------------------------------------------------------

From: weeklong-l-bounces@lists.wikimedia.org [mailto:weeklong-l-bounces@lists.wikimedia.org] On Behalf Of Alice Gordon Sent: Saturday, May 29, 2010 3:56 PM To: weeklong-l@lists.wikimedia.org Subject: [Weeklong-l] **IMPORTANT: Call to Reunion Action!**

Dear Fellow Winedale Weeklongians,

On behalf of Doc and the Committee of Cheerleaders, I hereby emit a big Go, Team, Go!

We would like to get the whole scenes-choosing and role-casting process done and roles disseminated by June 6, when the first session of Camp Shakespeare begins and Doc will be all-consumed by it. To meet that deadline, we must strictly adhere to the ones leading up to it.

Attached is the revised master list of scenes I sent you a few days ago. A a few people weighed in with a more ideas. Also, Robert Jackson, please forgive me for not including your list of scenes the first time around. It and newer material is now included and marked in bold-face type.

Here is the process just ahead: By Midnight, MAY 31: Send your top ten scenes to alicegordon@earthlink.net. (I will immediately forward all lists to Doc and the Committee. Just trying to give everyone only one email address to type in.) Considering the themes we've all been talking about, please send us your top ten scenes from the complete list. Feel free either to cherry-pick from the list; to vote for one of the concepts sketched out or fully fledged by Gail, Robert P, Robert J, or Matt; or to choose both concept and scenes to make your own list. (If I have overlooked other concepts since the whole group has been talking, please remind us all as soon as you can). Kathy and Jayne's and Clayton's proposals seem ways and examples of how to approach any group of scenes once we're at Winedale, and feel free to state your support or comments about such approaches as well. Our sense is that a lot of us are excited about what they are suggesting. Please keep in mind the time limit we've set forth and the number of participants in each scene. Doc urges us to favor ensemble scenes (six or more characters) in the balance, and also to balance longer and shorter scenes. Remember there will be weekenders and audience pop-ups with whom we will share the matinee. By June 2: Doc and Committee come up with final list of scenes. The committee and Doc will look at the preferences mathematically, see what rises to the top, and then work out the final choices by considering ensemble or what works better or what's more appropriate for the context. Once we have the final list, it will be sent out to everybody. Please keep an eye on your email inbox that day. By June 3: Your requests or preferences, if any. When you get that list, please let us know if you have very special preferences for roles you would like to play or scenes you would like to take part in. Once we get that information, we'll have at the casting. June 5: Deadline for roles to be cast. June 6: List of roles sent to whole group.

Courage! This will mean a fast week-plus coming up.

Make your best haste, All best wishes,

Alice

No virus found in this incoming message. Checked by AVG - www.avg.com Version: 9.0.819 / Virus Database: 271.1.1/2908 - Release Date: 05/31/10 01:25:00

--------------------------------------------------------------------------------

_______________________________________________ Weeklong-l mailing list Weeklong-l@lists.wikimedia.org https://lists.wikimedia.org/mailman/listinfo/weeklong-l

Please give me until June 1.

--m

On Sat, May 29, 2010 at 1:56 PM, Alice Gordon alicegordon@earthlink.netwrote:

Dear Fellow Winedale Weeklongians,

On behalf of Doc and the Committee of Cheerleaders, I hereby emit a big Go, Team, Go!

We would like to get the whole scenes-choosing and role-casting process done and roles disseminated by June 6, when the first session of Camp Shakespeare begins and Doc will be all-consumed by it. To meet that deadline, we must strictly adhere to the ones leading up to it.

Attached is the revised master list of scenes I sent you a few days ago. A a few people weighed in with a more ideas. Also, Robert Jackson, please forgive me for not including your list of scenes the first time around. It and newer material is now included and marked in *bold-face type.

Here is the process just ahead: *By Midnight, MAY 31: Send your top ten scenes to alicegordon@earthlink.net.* (I will immediately forward all lists to Doc and the Committee. Just trying to give everyone only one email address to type in.) Considering the themes we’ve all been talking about, please send us your top ten scenes *from the complete list.* Feel free either to cherry-pick from the list; to vote for one of the concepts sketched out or fully fledged by Gail, Robert P, Robert J, or Matt; or to choose both concept and scenes to make your own list. (If I have overlooked other concepts since the whole group has been talking, please remind us all as soon as you can). Kathy and Jayne’s and Clayton’s proposals seem ways and examples of how to approach any group of scenes once we’re at Winedale, and feel free to state your support or comments about such approaches as well. Our sense is that a lot of us are excited about what they are suggesting. Please keep in mind the time limit we’ve set forth and the number of participants in each scene. Doc urges us to favor ensemble scenes (six or more characters) in the balance, and also to balance longer and shorter scenes. Remember there will be weekenders and audience pop-ups with whom we will share the matinee. *By June 2: Doc and Committee come up with final list of scenes.* The committee and Doc will look at the preferences mathematically, see what rises to the top, and then work out the final choices by considering ensemble or what works better or what’s more appropriate for the context. Once we have the final list, it will be sent out to everybody. Please keep an eye on your email inbox that day. *By June 3: Your requests or preferences, if any. *When you get that list, please let us know if you have very special preferences for roles you would like to play or scenes you would like to take part in. Once we get that information, we’ll have at the casting. *June 5: Deadline for roles to be cast. June 6: List of roles sent to whole group.

Courage! This will mean a fast week-plus coming up.

Make your best haste, All best wishes,

Alice

---

Weeklong-l mailing list Weeklong-l@lists.wikimedia.org https://lists.wikimedia.org/mailman/listinfo/weeklong-l

Here are my picks - I am very much the least qualified person to do this, as I am not intimate with the plays in a way that is helpful - my excuse is simple but profound: in the past 12 days we have had one college graduation, one high school graduation, two family birthdays and adopted a baby. Another 24 hours is not going to make a difference for me - I will be thrilled with whatever is collectively decided. Bruce

* Henry V, Prologue

* 1 Henry IV (V, iv)

* Henry V (V, ii)

* LOVE’S LABORS LOST - (V, ii) The Pageant of the Nine Worthies

* Comedy (III,I)

* Much Ado - the Dogberry chase scene

* Winter's Tale (III, ii)

* Winter's Tale (V, iii)

* 2 Henry IV, (III, ii) -- Shallow/Silence

* Tempest epilog

* MND (V, i) --Bottom's Dream

From: weeklong-l-bounces@lists.wikimedia.org [mailto:weeklong-l-bounces@lists.wikimedia.org] On Behalf Of Alice Gordon Sent: Saturday, May 29, 2010 1:56 PM To: weeklong-l@lists.wikimedia.org Subject: [Weeklong-l] **IMPORTANT: Call to Reunion Action!**

Dear Fellow Winedale Weeklongians,

On behalf of Doc and the Committee of Cheerleaders, I hereby emit a big Go, Team, Go!

We would like to get the whole scenes-choosing and role-casting process done and roles disseminated by June 6, when the first session of Camp Shakespeare begins and Doc will be all-consumed by it. To meet that deadline, we must strictly adhere to the ones leading up to it.

Attached is the revised master list of scenes I sent you a few days ago. A a few people weighed in with a more ideas. Also, Robert Jackson, please forgive me for not including your list of scenes the first time around. It and newer material is now included and marked in bold-face type.

Here is the process just ahead: By Midnight, MAY 31: Send your top ten scenes to alicegordon@earthlink.net. (I will immediately forward all lists to Doc and the Committee. Just trying to give everyone only one email address to type in.) Considering the themes we've all been talking about, please send us your top ten scenes from the complete list. Feel free either to cherry-pick from the list; to vote for one of the concepts sketched out or fully fledged by Gail, Robert P, Robert J, or Matt; or to choose both concept and scenes to make your own list. (If I have overlooked other concepts since the whole group has been talking, please remind us all as soon as you can). Kathy and Jayne's and Clayton's proposals seem ways and examples of how to approach any group of scenes once we're at Winedale, and feel free to state your support or comments about such approaches as well. Our sense is that a lot of us are excited about what they are suggesting. Please keep in mind the time limit we've set forth and the number of participants in each scene. Doc urges us to favor ensemble scenes (six or more characters) in the balance, and also to balance longer and shorter scenes. Remember there will be weekenders and audience pop-ups with whom we will share the matinee. By June 2: Doc and Committee come up with final list of scenes. The committee and Doc will look at the preferences mathematically, see what rises to the top, and then work out the final choices by considering ensemble or what works better or what's more appropriate for the context. Once we have the final list, it will be sent out to everybody. Please keep an eye on your email inbox that day. By June 3: Your requests or preferences, if any. When you get that list, please let us know if you have very special preferences for roles you would like to play or scenes you would like to take part in. Once we get that information, we'll have at the casting. June 5: Deadline for roles to be cast. June 6: List of roles sent to whole group.

Courage! This will mean a fast week-plus coming up.

Make your best haste, All best wishes,

Alice

Bruce!

How awesome! I am not the least bit surprised. Mazel tov!!

As for myself, I am still in labor....

Give everyone my best regards!

Date: Mon, 31 May 2010 20:22:32 -0500 From: Bruce.Meyer@UTSouthwestern.edu To: weeklong-l@lists.wikimedia.org Subject: Re: [Weeklong-l] **IMPORTANT: Call to Reunion Action!**

Here are my picks - I am very much the least qualified person to do this, as I am not intimate with the plays in a way that is helpful - my excuse is simple but profound: in the past 12 days we have had one college graduation, one high school graduation, two family birthdays and adopted a baby. Another 24 hours is not going to make a difference for me - I will be thrilled with whatever is collectively decided. Bruce

• Henry V, Prologue

• 1 Henry IV (V, iv)

• Henry V (V, ii)

• LOVE’S LABORS LOST - (V, ii) The Pageant of the Nine

Worthies

• Comedy (III,I)

• Much Ado - the Dogberry chase scene

• Winter's Tale (III, ii)

• Winter's Tale (V, iii)

• 2 Henry IV, (III, ii) -- Shallow/Silence

• Tempest epilog

• MND (V, i) --Bottom's Dream

From: weeklong-l-bounces@lists.wikimedia.org [mailto:weeklong-l-bounces@lists.wikimedia.org] On Behalf Of Alice Gordon Sent: Saturday, May 29, 2010 1:56 PM To: weeklong-l@lists.wikimedia.org Subject: [Weeklong-l] **IMPORTANT: Call to Reunion Action!**

Dear Fellow Winedale Weeklongians,

On behalf of Doc and the Committee of Cheerleaders, I hereby emit a big Go, Team, Go!

We would like to get the whole scenes-choosing and role-casting process done and roles disseminated by June 6, when the first session of Camp Shakespeare begins and Doc will be all-consumed by it. To meet that deadline, we must strictly adhere to the ones leading up to it.

Attached is the revised master list of scenes I sent you a few days ago. A a few people weighed in with a more ideas. Also, Robert Jackson, please forgive me for not including your list of scenes the first time around. It and newer material is now included and marked in bold-face type.

Here is the process just ahead: By Midnight, MAY 31: Send your top ten scenes to alicegordon@earthlink.net. (I will immediately forward all lists to Doc and the Committee. Just trying to give everyone only one email address to type in.) Considering the themes we've all been talking about, please send us your top ten scenes from the complete list. Feel free either to cherry-pick from the list; to vote for one of the concepts sketched out or fully fledged by Gail, Robert P, Robert J, or Matt; or to choose both concept and scenes to make your own list. (If I have overlooked other concepts since the whole group has been talking, please remind us all as soon as you can). Kathy and Jayne's and Clayton's proposals seem ways and examples of how to approach any group of scenes once we're at Winedale, and feel free to state your support or comments about such approaches as well. Our sense is that a lot of us are excited about what they are suggesting. Please keep in mind the time limit we've set forth and the number of participants in each scene. Doc urges us to favor ensemble scenes (six or more characters) in the balance, and also to balance longer and shorter scenes. Remember there will be weekenders and audience pop-ups with whom we will share the matinee. By June 2: Doc and Committee come up with final list of scenes. The committee and Doc will look at the preferences mathematically, see what rises to the top, and then work out the final choices by considering ensemble or what works better or what's more appropriate for the context. Once we have the final list, it will be sent out to everybody. Please keep an eye on your email inbox that day. By June 3: Your requests or preferences, if any. When you get that list, please let us know if you have very special preferences for roles you would like to play or scenes you would like to take part in. Once we get that information, we'll have at the casting. June 5: Deadline for roles to be cast. June 6: List of roles sent to whole group.

Courage! This will mean a fast week-plus coming up.

Make your best haste, All best wishes,

Alice

---

Weeklong-l mailing list Weeklong-l@lists.wikimedia.org https://lists.wikimedia.org/mailman/listinfo/weeklong-l

Dear Terry,

This is hugely exciting. I do wish you success and can't wait to hear that it has happened.

Love, Gail

________________________________ From: weeklong-l-bounces@lists.wikimedia.org [mailto:weeklong-l-bounces@lists.wikimedia.org] On Behalf Of tlgalloway@aol.com Sent: 01 June 2010 07:16 To: weeklong-l@lists.wikimedia.org Subject: Re: [Weeklong-l] **IMPORTANT: Call to Reunion Action!**

Hey Guys!

Just sent Al my top picks. But wanted to let you guys know that I'm off to Shands tomorrow to have my implant turned on. I will be there the next two days as they begin to train me to hear.

Wish me success! love,

Terry

-----Original Message----- From: Maggie Megaw maggie@bizaffairs.com To: weeklong-l@lists.wikimedia.org Sent: Mon, May 31, 2010 8:53 pm Subject: Re: [Weeklong-l] **IMPORTANT: Call to Reunion Action!**

Dear FWW's,

Here are my 12 picks (sorry Alice!) (My excuse: "O for a Muse of Fire" and Bottom's Dream are short and would make a great frame...):

* Taming Induction * Henry V, Prologue -- "O for a Muse of Fire" * 1 Henry IV (V, iv) -- Falstaff resurrected * Henry V (V, ii) -- Henry courts Katherine * Taming (II, i) -- Petruchio "courts" Katherine * Comedy (III,I) -- "But soft my door is lock'd; go bid them let us in" * Lear (II, iv) -- "Shut up your doors" * Lear (IV, vii) -- Lear/Cordelia Reconciliation * Winter's Tale (III, ii) * Winter's Tale (V, iii) * 2 Henry IV, (III, ii) -- Shallow/Silence * MND (V, i) --Bottom's Dream

At the risk of repeating myself, I love the tavern idea...

--Maggie

From: weeklong-l-bounces@lists.wikimedia.orgmailto:weeklong-l-bounces@lists.wikimedia.org [mailto:weeklong-l-bounces@lists.wikimedia.orgmailto:weeklong-l-bounces@lists.wikimedia.org?] On Behalf Of Alice Gordon Sent: Saturday, May 29, 2010 1:56 PM To: weeklong-l@lists.wikimedia.orgmailto:weeklong-l@lists.wikimedia.org Subject: [Weeklong-l] **IMPORTANT: Call to Reunion Action!**

Dear Fellow Winedale Weeklongians,

On behalf of Doc and the Committee of Cheerleaders, I hereby emit a big Go, Team, Go!

We would like to get the whole scenes-choosing and role-casting process done and roles disseminated by June 6, when the first session of Camp Shakespeare begins and Doc will be all-consumed by it. To meet that deadline, we must strictly adhere to the ones leading up to it.

Attached is the revised master list of scenes I sent you a few days ago. A a few people weighed in with a more ideas. Also, Robert Jackson, please forgive me for not including your list of scenes the first time around. It and newer material is now included and marked in bold-face type.

Here is the process just ahead: By Midnight, MAY 31: Send your top ten scenes to alicegordon@earthlink.netmailto:alicegordon@earthlink.net. (I will immediately forward all lists to Doc and the Committee. Just trying to give everyone only one email address to type in.) Considering the themes we've all been talking about, please send us your top ten scenes from the complete list. Feel free either to cherry-pick from the list; to vote for one of the concepts sketched out or fully fledged by Gail, Robert P, Robert J, or Matt; or to choose both concept and scenes to make your own list. (If I have overlooked other concepts since the whole group has been talking, please remind us all as soon as you can). Kathy and Jayne's and Clayton's proposals seem ways and examples of how to approach any group of scenes once we're at Winedale, and feel free to state your support or comments about such approaches as well. Our sense is that a lot of us are excited about what they are suggesting. Please keep in mind the time limit we've set forth and the number of participants in each scene. Doc urges us to favor ensemble scenes (six or more characters) in the balance, and also to balance longer and shorter scenes. Remember there will be weekenders and audience pop-ups with whom we will share the matinee. By June 2: Doc and Committee come up with final list of scenes. The committee and Doc will look at the preferences mathematically, see what rises to the top, and then work out the final choices by considering ensemble or what works better or what's more appropriate for the context. Once we have the final list, it will be sent out to everybody. Please keep an eye on your email inbox that day. By June 3: Your requests or preferences, if any. When you get that list, please let us know if you have very special preferences for roles you would like to play or scenes you would like to take part in. Once we get that information, we'll have at the casting. June 5: Deadline for roles to be cast. June 6: List of roles sent to whole group.

Courage! This will mean a fast week-plus coming up.

Make your best haste, All best wishes,

Alice

_______________________________________________ Weeklong-l mailing list Weeklong-l@lists.wikimedia.orgmailto:Weeklong-l@lists.wikimedia.org https://lists.wikimedia.org/mailman/listinfo/weeklong-l

I love you too. We are on our way now! Love Terry

Sent from my iPhone

On Jun 1, 2010, at 9:10 AM, Alice Gordon alicegordon@earthlink.net wrote:

WOW, my darling. I’ve been thinking about you. May the first thing y ou hear be Donna’s beautiful laugh.

I love you, Al

From: tlgalloway@aol.com Reply-To: weeklong-l@lists.wikimedia.org Date: Tue, 01 Jun 2010 02:15:50 -0400 To: weeklong-l@lists.wikimedia.org Subject: Re: [Weeklong-l] **IMPORTANT: Call to Reunion Action!**

Hey Guys!

Just sent Al my top picks. But wanted to let you guys know that I'm off to Shands tomorrow to have my implant turned on. I will be there the next two days as they begin to train me to hear.

Wish me success! love,

Terry

-----Original Message----- From: Maggie Megaw maggie@bizaffairs.com To: weeklong-l@lists.wikimedia.org Sent: Mon, May 31, 2010 8:53 pm Subject: Re: [Weeklong-l] **IMPORTANT: Call to Reunion Action!**

Dear FWW’s,

Here are my 12 picks (sorry Alice!) (My excuse: “O for a Muse of Fi re” and Bottom’s Dream are short and would make a great frame…):

· Taming Induction · Henry V, Prologue -- “O for a Muse of Fire” · 1 Henry IV (V, iv) -- Falstaff resurrected · Henry V (V, ii) -- Henry courts Katherine · Taming (II, i) -- Petruchio “courts” Katherine · Comedy (III,I) -- “But soft my door is lock’d; go bid them let us in” · Lear (II, iv) -- “Shut up your doors” · Lear (IV, vii) -- Lear/Cordelia Reconciliation · Winter’s Tale (III, ii) · Winter’s Tale (V, iii) · 2 Henry IV, (III, ii) -- Shallow/Silence · MND (V, i) --Bottom’s Dream

At the risk of repeating myself, I love the tavern idea…

--Maggie

From: weeklong-l-bounces@lists.wikimedia.org [mailto:weeklong-l- bounces@lists.wikimedia.org <mailto:weeklong-l- bounces@lists.wikimedia.org?> ] On Behalf Of Alice Gordon Sent: Saturday, May 29, 2010 1:56 PM To: weeklong-l@lists.wikimedia.org Subject: [Weeklong-l] **IMPORTANT: Call to Reunion Action!**

Dear Fellow Winedale Weeklongians,

On behalf of Doc and the Committee of Cheerleaders, I hereby emit a big Go, Team, Go!

We would like to get the whole scenes-choosing and role-casting process done and roles disseminated by June 6, when the first session of Camp Shakespeare begins and Doc will be all-consumed by it. To meet that deadline, we must strictly adhere to the ones leading up to it.

Attached is the revised master list of scenes I sent you a few days ago. A a few people weighed in with a more ideas. Also, Robert Jackson, please forgive me for not including your list of scenes the first time around. It and newer material is now included and marked in bold-face type.

Here is the process just ahead: By Midnight, MAY 31: Send your top ten scenes to alicegordon@earthlink.net . (I will immediately forward all lists to Doc and the Committee. Just trying to give everyone only one email address to type in.) Considering the themes we’ve all been talking about, please send us your top ten scenes from the complete list. Feel free either to cher ry-pick from the list; to vote for one of the concepts sketched out or fully fledged by Gail, Robert P, Robert J, or Matt; or to choose both concept and scenes to make your own list. (If I have overlooked other concepts since the whole group has been talking, please remin d us all as soon as you can). Kathy and Jayne’s and Clayton’s proposals seem ways and examples of how to approach any group of sce nes once we’re at Winedale, and feel free to state your support or c omments about such approaches as well. Our sense is that a lot of us are excited about what they are suggesting. Please keep in mind the time limit we’ve set forth and the number of participants in each scene. Doc urges us to favor ensemble scene s (six or more characters) in the balance, and also to balance longe r and shorter scenes. Remember there will be weekenders and audience pop-ups with whom we will share the matinee. By June 2: Doc and Committee come up with final list of scenes. The committee and Doc will look at the preferences mathematically, see what rises to the top, and then work out the final choices by considering ensemble or what works better or what’s more appropriate for the context. Once we have the final list, it will be sent out t o everybody. Please keep an eye on your email inbox that day. By June 3: Your requests or preferences, if any. When you get that list, please let us know if you have very special preferences for roles you would like to play or scenes you would like to take part in. Once we get that information, we’ll have at the casting. June 5: Deadline for roles to be cast. June 6: List of roles sent to whole group.

Courage! This will mean a fast week-plus coming up.

Make your best haste, All best wishes,

Alice

---

Weeklong-l mailing list Weeklong-l@lists.wikimedia.org https://lists.wikimedia.org/mailman/listinfo/weeklong-l

---

Weeklong-l mailing list Weeklong-l@lists.wikimedia.org https://lists.wikimedia.org/mailman/listinfo/weeklong-l _______________________________________________ Weeklong-l mailing list Weeklong-l@lists.wikimedia.org https://lists.wikimedia.org/mailman/listinfo/weeklong-l

All God's love and blessings on thee!

Love to you both,

Joy

To: weeklong-l@lists.wikimedia.org Date: Tue, 1 Jun 2010 02:15:50 -0400 From: tlgalloway@aol.com Subject: Re: [Weeklong-l] **IMPORTANT: Call to Reunion Action!**

Hey Guys!

Just sent Al my top picks. But wanted to let you guys know that I'm off to Shands tomorrow to have my implant turned on. I will be there the next two days as they begin to train me to hear.

Wish me success! love,

Terry

-----Original Message----- From: Maggie Megaw maggie@bizaffairs.com To: weeklong-l@lists.wikimedia.org Sent: Mon, May 31, 2010 8:53 pm Subject: Re: [Weeklong-l] **IMPORTANT: Call to Reunion Action!**

Dear FWW’s,

Here are my 12 picks (sorry Alice!) (My excuse: “O for a Muse of Fire” and Bottom’s Dream are short and would make a great frame…):

· Taming Induction · Henry V, Prologue -- “O for a Muse of Fire” · 1 Henry IV (V, iv) -- Falstaff resurrected · Henry V (V, ii) -- Henry courts Katherine · Taming (II, i) -- Petruchio “courts” Katherine · Comedy (III,I) -- “But soft my door is lock’d; go bid them let us in” · Lear (II, iv) -- “Shut up your doors” · Lear (IV, vii) -- Lear/Cordelia Reconciliation · Winter’s Tale (III, ii) · Winter’s Tale (V, iii) · 2 Henry IV, (III, ii) -- Shallow/Silence · MND (V, i) --Bottom’s Dream

At the risk of repeating myself, I love the tavern idea…

--Maggie

From: weeklong-l-bounces@lists.wikimedia.org [mailto:weeklong-l-bounces@lists.wikimedia.org] On Behalf Of Alice Gordon Sent: Saturday, May 29, 2010 1:56 PM To: weeklong-l@lists.wikimedia.org Subject: [Weeklong-l] **IMPORTANT: Call to Reunion Action!**

Dear Fellow Winedale Weeklongians,

On behalf of Doc and the Committee of Cheerleaders, I hereby emit a big Go, Team, Go!

We would like to get the whole scenes-choosing and role-casting process done and roles disseminated by June 6, when the first session of Camp Shakespeare begins and Doc will be all-consumed by it. To meet that deadline, we must strictly adhere to the ones leading up to it.

Attached is the revised master list of scenes I sent you a few days ago. A a few people weighed in with a more ideas. Also, Robert Jackson, please forgive me for not including your list of scenes the first time around. It and newer material is now included and marked in bold-face type.

Here is the process just ahead: By Midnight, MAY 31: Send your top ten scenes to alicegordon@earthlink.net. (I will immediately forward all lists to Doc and the Committee. Just trying to give everyone only one email address to type in.) Considering the themes we’ve all been talking about, please send us your top ten scenes from the complete list. Feel free either to cherry-pick from the list; to vote for one of the concepts sketched out or fully fledged by Gail, Robert P, Robert J, or Matt; or to choose both concept and scenes to make your own list. (If I have overlooked other concepts since the whole group has been talking, please remind us all as soon as you can). Kathy and Jayne’s and Clayton’s proposals seem ways and examples of how to approach any group of scenes once we’re at Winedale, and feel free to state your support or comments about such approaches as well. Our sense is that a lot of us are excited about what they are suggesting. Please keep in mind the time limit we’ve set forth and the number of participants in each scene. Doc urges us to favor ensemble scenes (six or more characters) in the balance, and also to balance longer and shorter scenes. Remember there will be weekenders and audience pop-ups with whom we will share the matinee. By June 2: Doc and Committee come up with final list of scenes. The committee and Doc will look at the preferences mathematically, see what rises to the top, and then work out the final choices by considering ensemble or what works better or what’s more appropriate for the context. Once we have the final list, it will be sent out to everybody. Please keep an eye on your email inbox that day. By June 3: Your requests or preferences, if any. When you get that list, please let us know if you have very special preferences for roles you would like to play or scenes you would like to take part in. Once we get that information, we’ll have at the casting. June 5: Deadline for roles to be cast. June 6: List of roles sent to whole group.

Courage! This will mean a fast week-plus coming up.

Make your best haste, All best wishes,

Alice

_______________________________________________ Weeklong-l mailing list Weeklong-l@lists.wikimedia.org https://lists.wikimedia.org/mailman/listinfo/weeklong-l

Hear, hear!!!

Love you,

Maggie

From: weeklong-l-bounces@lists.wikimedia.org [mailto:weeklong-l-bounces@lists.wikimedia.org] On Behalf Of tlgalloway@aol.com Sent: Monday, May 31, 2010 11:16 PM To: weeklong-l@lists.wikimedia.org Subject: Re: [Weeklong-l] **IMPORTANT: Call to Reunion Action!**

Hey Guys!

Just sent Al my top picks. But wanted to let you guys know that I'm off to Shands tomorrow to have my implant turned on. I will be there the next two days as they begin to train me to hear.

Wish me success!

love,

Terry

-----Original Message----- From: Maggie Megaw maggie@bizaffairs.com To: weeklong-l@lists.wikimedia.org Sent: Mon, May 31, 2010 8:53 pm Subject: Re: [Weeklong-l] **IMPORTANT: Call to Reunion Action!**

Dear FWW’s,

Here are my 12 picks (sorry Alice!) (My excuse: “O for a Muse of Fire” and Bottom’s Dream are short and would make a great frame…):

· Taming Induction

· Henry V, Prologue -- “O for a Muse of Fire”

· 1 Henry IV (V, iv) -- Falstaff resurrected

· Henry V (V, ii) -- Henry courts Katherine

· Taming (II, i) -- Petruchio “courts” Katherine

· Comedy (III,I) -- “But soft my door is lock’d; go bid them let us in”

· Lear (II, iv) -- “Shut up your doors”

· Lear (IV, vii) -- Lear/Cordelia Reconciliation

· Winter’s Tale (III, ii)

· Winter’s Tale (V, iii)

· 2 Henry IV, (III, ii) -- Shallow/Silence

· MND (V, i) --Bottom’s Dream

At the risk of repeating myself, I love the tavern idea…

--Maggie

From: weeklong-l-bounces@lists.wikimedia.org [mailto:weeklong-l-bounces@lists.wikimedia.org mailto:weeklong-l-bounces@lists.wikimedia.org? ] On Behalf Of Alice Gordon Sent: Saturday, May 29, 2010 1:56 PM To: weeklong-l@lists.wikimedia.org Subject: [Weeklong-l] **IMPORTANT: Call to Reunion Action!**

Dear Fellow Winedale Weeklongians,

On behalf of Doc and the Committee of Cheerleaders, I hereby emit a big Go, Team, Go!

We would like to get the whole scenes-choosing and role-casting process done and roles disseminated by June 6, when the first session of Camp Shakespeare begins and Doc will be all-consumed by it. To meet that deadline, we must strictly adhere to the ones leading up to it.

Attached is the revised master list of scenes I sent you a few days ago. A a few people weighed in with a more ideas. Also, Robert Jackson, please forgive me for not including your list of scenes the first time around. It and newer material is now included and marked in bold-face type.

Here is the process just ahead: By Midnight, MAY 31: Send your top ten scenes to alicegordon@earthlink.net. (I will immediately forward all lists to Doc and the Committee. Just trying to give everyone only one email address to type in.) Considering the themes we’ve all been talking about, please send us your top ten scenes from the complete list. Feel free either to cherry-pick from the list; to vote for one of the concepts sketched out or fully fledged by Gail, Robert P, Robert J, or Matt; or to choose both concept and scenes to make your own list. (If I have overlooked other concepts since the whole group has been talking, please remind us all as soon as you can). Kathy and Jayne’s and Clayton’s proposals seem ways and examples of how to approach any group of scenes once we’re at Winedale, and feel free to state your support or comments about such approaches as well. Our sense is that a lot of us are excited about what they are suggesting. Please keep in mind the time limit we’ve set forth and the number of participants in each scene. Doc urges us to favor ensemble scenes (six or more characters) in the balance, and also to balance longer and shorter scenes. Remember there will be weekenders and audience pop-ups with whom we will share the matinee. By June 2: Doc and Committee come up with final list of scenes. The committee and Doc will look at the preferences mathematically, see what rises to the top, and then work out the final choices by considering ensemble or what works better or what’s more appropriate for the context. Once we have the final list, it will be sent out to everybody. Please keep an eye on your email inbox that day. By June 3: Your requests or preferences, if any. When you get that list, please let us know if you have very special preferences for roles you would like to play or scenes you would like to take part in. Once we get that information, we’ll have at the casting. June 5: Deadline for roles to be cast. June 6: List of roles sent to whole group.

Courage! This will mean a fast week-plus coming up.

Make your best haste, All best wishes,

Alice

_______________________________________________ Weeklong-l mailing list Weeklong-l@lists.wikimedia.org https://lists.wikimedia.org/mailman/listinfo/weeklong-l

Yes, Jayne! I like the idea of doing the Weird Sisters from act III, then go through scenes ii, and iii, which if I'm not mistaken is Banquo's ghost at the banquet....

From: "Suhler, Jayne" jsuhler@mail.smu.edu Reply-To: weeklong-l@lists.wikimedia.org Date: Fri, 14 May 2010 11:08:10 -0500 To: "weeklong-l@lists.wikimedia.org" weeklong-l@lists.wikimedia.org Conversation: [Weeklong-l] Round II Subject: Re: [Weeklong-l] Round II

Oh for crying out loud. Macbeth. Sorry ya'll. I'm in still in grading hell, writing fast and not thinking clearly. Let's try this again:

What about the nurse comforting Juliet in Much Ado? Or Hamlet in Othello? She has some great speeches.

Jayne

---

From: weeklong-l-bounces@lists.wikimedia.org [weeklong-l-bounces@lists.wikimedia.org] On Behalf Of Suhler, Jayne Sent: Friday, May 14, 2010 9:44 AM To: weeklong-l@lists.wikimedia.org Subject: Re: [Weeklong-l] Round II

For reconciliation, one of the most beautiful in all of literature: Lear awakes to Cordelia in IV vii.

Mystery and Magic: Hamlet's weird sisters/cauldron scene. I'll bring my broomstick.

Jayne ________________________________________ From: weeklong-l-bounces@lists.wikimedia.org [weeklong-l-bounces@lists.wikimedia.org] On Behalf Of Mary Collins [mmcollins50@yahoo.com] Sent: Thursday, May 13, 2010 10:15 PM To: weeklong-l@lists.wikimedia.org Subject: [Weeklong-l] Round II

Greetings, All!

Thanks for all the ideas that poured out in the last couple of weeks. They were a wellspring of inspiration. Now, we are asking that you focus your scene suggestions on ideas related to the themes "Mystery/Magic/Reunion/Reconciliation". (Past reunions have been built around "Fools and Madmen/Masking," "Deception," and "Dream and Play.") In order to help us with the monumental culling process ahead, please resubmit any scenes you have already submitted if you feel they fit the themes.

We are thinking about a structure for the performance that would include transitions between scenes, so as to accommodate all the weekenders who might want to perform. It would look something like:

PART I (Intro/Prologue) Scene 1 Transition 1 Scene 2 Transition 2 Scene 3 Transition 3 ETC.

Intermission

PART II (Prologue?) More scenes/transitions Finale

For transitions, there could be anything from poetry to song to dance to monologues .... whatever weekend people would like to contribute; weeklongers could sign up, too.

In '05, the performance went on for close to 4 hrs., which was too long. We think we should aim at 1.5, followed by 20 minute intermission and come back with a 1 hr closing. Figuring now: If we limited the scenes to 10 minutes and the interludes to 3 minutes, we could do 11 scenes and 10 interludes within the 150 minute period comfortably. The number of scenes will depend upon what scenes are selected, of course - many scenes seem to run 10-12 minutes.

The day of the reunion is meant to be a day full of performances. There will be opportunities available to do something at the brunch, at a pre-performance moment, and later, at the banquet. (During these times, we won't necessarily be concerned about theme). We "week-longers" should remember that those opportunities exist for us (if we have time!), as well as for the week-enders (anyone want to name these two groups, please??) and we hope to capture three or four Camp Shakespeare kids for some things.

We are setting a deadline for contributing ideas/brainstorming of Sunday, May 23, which gives all of us ten days to read, think, dream, put it out there.

Thanks, and more thanks.

Cheers,

Doc and the Gals.

---

Weeklong-l mailing list Weeklong-l@lists.wikimedia.org https://lists.wikimedia.org/mailman/listinfo/weeklong-l _______________________________________________ Weeklong-l mailing list Weeklong-l@lists.wikimedia.org https://lists.wikimedia.org/mailman/listinfo/weeklong-l _______________________________________________ Weeklong-l mailing list Weeklong-l@lists.wikimedia.org https://lists.wikimedia.org/mailman/listinfo/weeklong-l