HG: That’s really interesting. The original set at the Globe puzzled me because it had a permanent bookcase installation, including a case in the shape of the Globe logo, and a promenade space that extended into the yard in a semi-circle. The Web's largest and most comprehensive scripts resource. 18 likes. Enter OTHELLO, LODOVICO, DESDEMONA, EMILIA and Attendants She is the first to suggest that somebody is telling Othello untruths about Desdemona; “The Moor’s abused by some most villainous knave./Some base, notorious knave” (Act 4 Scene 2, Line 143-5). Could you say a bit more about what being Jewish meant in the early modern period – the production didn’t have (make?) Jews across early modern Europe were being forced to convert to Christianity or be killed in various regimes, notably the Spanish Inquisition. All Acts are listed on the Othello text page, or linked to from the bottom of this page.. ACT 4. However, maybe some of the moments of stating the obvious is also due to the embrace of a more popular theatrical style. But I think the power of Emilia the play is in its theatrical performance. Yesterday was also the Jewish festival holiday, Purim, in which we perform the story of Esther with a very panto style. And Clare Perkins’ delivery of that final monologue is worthy of the standing ovation it receives. HG: Ooh interesting distinction! 2. Amy Borsuk: I took a cue from the marketing for this West End transfer when it came to building my expectations for this compared to its Globe run: images of the three Emilias holding hands, smiling, with bold feminist statements about power, or tantalising prompts like, “is she Shakespeare’s dark lady?” Ultimately, I knew they were going to lean into what would draw in West End audiences, beyond the usual Globe subscribers: pop feminism and pop Shakespeare. Like her, I got that guilt with Emilia. Emillia Script Regular otf (400) About the Product Emillia is a brush script that is beautiful and unique, it is a model of modern calligraphy typefaces, in combination with a calligraphy writing style. Emilia is an uneven attempt to restore agency to its heroine, and, by extension, to all the women that have been left out of history over the centuries. But besides the historical overlaps, the clear goodies and baddies in Emilia really seemed to strike a chord with the audience, both here and when I saw it at the Globe. Emilia argues that women are people, too—and so they should have an equal right to cheat on their spouses. She takes those few fragments of Bassano’s life and concocts a rollicking biography for an all-female cast: a mock history play. Photo: Helen Murray. Emilia Bassano, a poet and freethinker who founded a school for women, was born in 1569. Emilia is a strong hand-drawn script font that is packed with beautiful letters with swooshes and swashes. Do you think that’s a missed opportunity? Something fundamentally different to most West End theatre. Enjoy the videos and music you love, upload original content, and share it all with friends, family, and the world on YouTube. I don’t know. We aim to provide you with all the latest news, photos and much more. There's no point in talking abut this play without mentioning how it sat in the Globe. HG: Joanna Scotcher’s design brings the Globe to the West End, or at least had a segment of its trademark wooden semi-circular scaffolding against the back wall. Of course, now that’s the component of this transfer that I’m most fascinated with – how bringing it from the Globe early modern space and framework into the classic Victorian proscenium of the Vaudeville theatre changed how the show worked, and how I felt I was meant to understand the play. (Editor's Pick) - The Washington Post "Amelia recreates Civil War history with uncanny accuracy and delivers a knockout story of young lovers caught up in one of history’s great wars." 2,495 Followers, 214 Following, 121 Posts - See Instagram photos and videos from Emilia The Play (@emiliatheplay) In partnership with publisher Bloomsbury, all ticket buyers will be able to purchase the play script with an exclusive 30% discount. Design: Joanna Scotcher. Essentially, the reality of Jewish life in Shakespeare’s Europe lends itself to very riveting, complex drama. As we’re both PhD students, we are unashamedly leaning in to the ‘clever woman’ appellation. There's one gone to the harbour? AB: Yeah, it was enjoyable! Perhaps it is that willingness to share that catharsis? It was very well directed by Nicole Charles. For not having the right affective response? It felt genuinely incendiary to have this play on that stage, in all its bawdiness and brilliance. I am struck though by the irony of making him such a focal point of the play. Hannah is a writer, academic and theatre critic. Nadia Albina and Sarah Seggari in Emilia at Vaudeville Theatre. AB: It’s such a simple thing, but so effective – of course putting a team together in this model would produce a play that is full of rousing feminist energy! A show you do not want to miss out on! Iago. Hannah Greenstreet: I didn’t manage to see Emilia at the Globe last August. What were you expecting from the transfer and what has changed? So when I heard Nicole Charles’ production of Morgan Lloyd Malcolm’s play was getting a West End transfer, I thought it would be the perfect opportunity to see what all the hype was about. Jews were made to be second class citizens wherever they went. Looking for the scripts matching Emilia? Ultimately, in early modern Europe, Jewishness and blackness were conjoined differently than they are today. There’s a bit of discussion of privilege, and her allying with the workers is a gesture towards contemporary class solidarity. SCENE 3. The term could refer to many things: her skin colour, African origins, Muslim or Jewish faith, or a combination of these things. HG: That’s fascinating – but almost completely unexplored in the play. I also worry that I haven’t said that I enjoyed the show. I love the panto comparison, particularly because it is a genre stemming from sixteenth and seventeenth-century commedia dell’arte, concurrent with Shakespeare (albeit Italian), and a really popular Victorian past-time, but one that has a lot of similarities with the openness of early modern performance. Too safe? 3. James Shapiro explores this really well in Shakespeare and the Jews: the violence and hostility he describes that Jews faced is gruesome but very real and well documented. AB: Yes I’d love to! And even now, seeing that many women on stage at the West End to take a curtain call so joyfully was like a fist to the chest. HG: Let’s talk about Emilia’s feminism. AB: Yes, absolutely! In a dialogue piece with Maddy Costa about Dance Nation and feminist theatre more generally, Rosemary Waugh describes feeling a ‘pang of guilt that I’m being a ‘bad feminist’ if I don’t like something I am ‘supposed to’’. HG: I loved that! These aren't the most uplifting messages. Emilia will be playing at the Vaudeville Theatre from 8 March. I feel that the Globe was designed to be a contemporary space for early modern performance, but Emilia is a contemporary play on early modern history. She is researching an AHRC-funded PhD on contemporary feminist theatre and realism at the University of Oxford. It centres a black female character, and splits her into three substantial parts. 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