She is London Reviews co-Editor for Exeunt, with a focus on fringe and Off-West End theatre. At times, it felt like the subtlety of the writing was sacrificed to display the relevance of Emilia’s story to contemporary concerns – for example characters talking about the xenophobia and racism of craftsmen fearing people coming over to take their jobs. 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. I realise now that at the Globe, in that open-air space, with the focus on audience-actor relationships, shared light and non-amplified sound, the focus I had was on how this contemporary feminist act of historiography could be conveyed through early modern theatrics. 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’’. But the final scene is payback time for Emilia. (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." ... Othello (Characters of the Play) 2. In Morgan Lloyd Malcolm's electrifying play, Emilia and her sisters reach out across the centuries with passion, fury, laughter and song. Othello Act 1 Scene 1 3. Emilia will be playing at the Vaudeville Theatre from 8 March. No, let me not. These aren't the most uplifting messages. Act, Scene, Line (Click to see in context) Speech text: 1. Morgan Lloyd Malcolm is a playwright and screenwriter. But I think the power of Emilia the play is in its theatrical performance. The Web's largest and most comprehensive scripts resource. Because I really wanted to be moved, to join in with that…but I couldn’t quite feel it. In this play, two of the three women, specifically Desdemona and Emilia, die in the final scene, and the third, Bianca, is accused of conspiracy. Emilia archived West End production to be streamed with pay-what-you-can pricing The award-nominated West End show will be accessible for all! I don’t know. O gentle lady, do not put me to't; For I am nothing, if not critical. The congregation-audience already knows the characters and each one has a particular cheer or boo that the audience is supposed to do; it’s a chance to be noisy, raucous – to disturb the customs of an otherwise holy space. I wanted to do a dialogue review with you Amy as I thought our perspectives would complement each other. Jews were made to be second class citizens wherever they went. This time, the focus will be on this exceptional woman who managed to outlive … HG: That’s fascinating – but almost completely unexplored in the play. AB: Yeah, it was enjoyable! An all-female cast will perform in this ‘magnificent production’ ( The Stage ) filled with ‘wit, fierce intelligence and heady intensity’ ( The Times ). Emilia Bassano, a poet and freethinker who founded a school for women, was born in 1569. 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. Does online theatre really need to be live? But I agree, it was just gesturing. It also won three Olivier Awards, including Best Entertainment or Comedy Play. 18 likes. Judging by my Twitter feed – filled with strong arm and fire emojis, avowals of feminist rage and quotes from *that* final monologue – I’d really missed out. We publish thousands of plays, critical texts, coursebooks and reference works, as well as the award-winning digital library Drama Online, so whether you’re a theatre-goer, student, scholar, practitioner or actor, there’s lots to explore. I also wanted to join in but wasn’t… feeling it. HG: Yeah absolutely. What wouldst thou write of me, if thou shouldst 905 praise me? Throughout most of the play, Iago has the upper hand in his interactions with his wife. Honestly the changed set was the best part of the transfer. space to explore its complexities. Come on assay. 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. Photo: Helen Murray. It was – to be Greek for a sec – cathartic. In partnership with publisher Bloomsbury, all ticket buyers will be able to purchase the play script with an exclusive 30% discount. I read the script before I knew it was transferring and couldn’t quite work out why people were raving about it. 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. Place and time is difficult to establish on the Globe stage, but I don’t think adding more set pieces was the solution. The narrative felt really sprawling and meandering at the Globe and here at the Vaudeville, thanks to edits and to this enclosed, amplified and electric space, the narrative could flow more cohesively and themes and motifs could be visually marked and underlined. There’s a bit of discussion of privilege, and her allying with the workers is a gesture towards contemporary class solidarity. Emilia will be available to watch online from 10 – 24 November 2020. AB: The imagined linear narrative of progress is something I’ve been really fixated on as a common assumption in progressive Shakespeare theatre productions lately, and that speech definitely assumes that teleological path, as you say. II,1,924 She takes those few fragments of Bassano’s life and concocts a rollicking biography for an all-female cast: a mock history play. For information on how we process your data, read our Privacy Policy. Emilia. Essentially, the reality of Jewish life in Shakespeare’s Europe lends itself to very riveting, complex drama. I really like your point about how the production became a dialogue between the Globe space and its theatrical (and political?) And Clare Perkins’ delivery of that final monologue is worthy of the standing ovation it receives. However, maybe some of the moments of stating the obvious is also due to the embrace of a more popular theatrical style. Anna Morrissey’s choreography and Luisa Gerstein’s original music, played by onstage musicians, brought fluency to the scene transitions in what could otherwise be a disparate script. The play, written by Morgan Lloyd Malcolm, gives us a glimpse into the life of the seventeenth-century poet Emilia Bassano … Our ‘extraordinarily rousing new play’ (The Independent) is back! It was very well directed by Nicole Charles. But he has a point: given Shakespeare’s dominance over the western theatrical canon, he exerts a powerful influence, which is great to see physicalised onstage and shown to be fallible and a bit bumbling by Charity Wakefield. It centres a black female character, and splits her into three substantial parts. But…I wonder whether Emilia’s message of anger at inequality is too palatable? (I couldn’t help comparing that moment to the RSC’s Imperium, another historical drama, in which I amused myself by counting how many male performers there were onstage vs female ones – about 20:2). What were you expecting from the transfer and what has changed? The play as a whole seems to be working with that progress narrative of history. for that metatheatricality as you say, and for the metaphor of contemporary materials serving as the real structural support for the early modern. There's no point in talking abut this play without mentioning how it sat in the Globe. Emillia Script Apr 20, 2015 Emillia is a brush script that is beautiful and unique, it is a model of modern calligraphy typefaces, in combination with a calligraphy writing style. Performing @theoldrep on the 21st and 22nd January. Emilia the play. It’s enticing to have a character/person like her who can be a symbol of connecting the dots, of linear progress, but she is, sadly, mostly a fiction representing these desires in our historical feminist theatre. HG: That’s really interesting. ! If you are putting on a production and would like to find out about performance rights for our plays, please visit our Performance Rights Permissions page, This website uses cookies to improve user experience. Find all about carlén, emilia on Scripts.com! Clare Perkins is phenomenal, true, and she gets to dig deep into rage and passion here. You can unsubscribe from newsletters at any time by clicking the unsubscribe link in any newsletter. 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. Charity Wakefield in Emilia. More info here. In my pitch to (Exeunt editor) Alice Saville, I promised you’d bring the early modern dramaturgical expertise and I’d bring the obsession with contemporary feminist theatre. But of course, the path to equal rights hasn’t been teleological or linear, or a single movement – that is a narrative. For not having the right affective response? As we’re both PhD students, we are unashamedly leaning in to the ‘clever woman’ appellation. Enjoy the videos and music you love, upload original content, and share it all with friends, family, and the world on YouTube. But I think the power of Emilia the play is in its theatrical performance. SCENE 3. It digs more deeply into intersectional feminist issues than the plot developed in Emilia. 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. 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. 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. Part of the narrative of Emilia is about the power of the printed book to survive and memorialise the writer. Something fundamentally different to most West End theatre. Othello questions Emilia about Cassio and Desdemona’s relationship, acting as if Emilia is the mistress of a brothel and Desdemona… Act 4, scene 3 Othello, walking with Lodovico, orders Desdemona to go to bed and to dismiss Emilia. You rise to play and go to bed to work. I have to admit though, I think that ended up detracting from the play’s impact, even if it does energise the audience to feel the feminist sentiment. We aim to provide you with all the latest news, photos and much more. Emilia is perceptive and cynical, maybe as a result of her relationship with Iago. HG: I loved that! AB: Yeah I think it’s a great opportunity for even more diverse representation. Amy, you told me that you saw Emilia in its first iteration. Emilia received its acclaimed premiere at Shakespeare's Globe in 2018, before galvanising West End audiences the following year. All Acts are listed on the Othello text page, or linked to from the bottom of this page.. ACT 4. Emilia is a strong hand-drawn script font that is packed with beautiful letters with swooshes and swashes. The missing link seems to be the suffragettes, who are evoked visually on the posters I’ve been seeing all over the tube. You can also purchase the Globe edition of the Emilia … Find out more and book your tickets. This page contains the original text of Othello Act 4, Scene 3.Shakespeare’s original Othello text is extremely long, so we’ve split the text into one Scene per page. The Web's largest and most comprehensive scripts resource. Perhaps it is that willingness to share that catharsis? Amy, when we were chatting after the show, you made the point about all the lights and tech being exposed – which instantly creates a sense of metatheatricality. I wonder also whether it’s something to do with the play’s use of anachronism/ take on history. Emilia is called “moor” at the beginning of the play. Emilia Analysis . The term could refer to many things: her skin colour, African origins, Muslim or Jewish faith, or a combination of these things. Edinburgh Review: Natalie Palamides: Nate at Pleasance Courtyard, Not I: The Stage Poetry of Samuel Beckett, Ensemble work: "Theatre is always about together", Review: The Fabulist Fox Sister, Southwark Playhouse (online). Making Shakespeare that awkward comedic character was good fun, and Wakefield does the part well. This was followed in 2015 by another hit play at Hampstead Theatre, The Wasp, which also transferred to Trafalgar Studios.Other stage work includes commissions for the Old … I read the script before I knew it was transferring and couldn’t quite work out why people were raving about it. My point in digging into this history is that understanding Emilia as potentially part of a black and Jewish diaspora, as we understand it today, makes her an important character for exploring the reality of how oppression worked in early modern Europe. 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. Emilia is a rollercoaster production firing on all cylinders and not stopping for a second to apologise." Commissioned specifically for Shakespeare’s Globe, and performed with an all-female cast, Morgan Lloyd-Malcolm's acclaimed play reveals the life of Emilia: poet, mother and feminist. AB: Yes I’d love to! Photo: Helen Murray. By using our website you consent to all cookies in accordance with our, It looks like you are located in Australia or New Zealand, Continuing Professional Development (CPD), Guides to Plays for Secondary and FE Level, Bloomsbury Education and Childhood Studies, Bloomsbury International Encyclopedia Of Surrealism, Items in your basket cannot be carried over to a different region, and some products may not be available to order due to territorial rights. Desdemona remembers a maid in her parents’ house who died of love, and sings a sad song that the maid had. This story is told beautifully, but it’s simply not written well enough. Desdemona. I wonder whether we can think about Emilia as historical fiction a bit more – a genre which raises all sorts of questions about authenticity and accuracy, representation, and how present concerns mediate retellings of the past. AB: Yes, absolutely! There’s a brilliant moment when Lord Thomas Howard (Jackie Clune) comes to berate Emilia for publishing her poetry, accusing her of being an improper woman, and the audience boo him offstage like a panto villain. Hannah is a writer, academic and theatre critic. I feel I was pretty on the nose about that. I adored how they used the theatre, with the male characters climbing into the box seats, interjecting loudly and ad-libbing. As for the take on history, the major problem here is the framing of this play as entirely truthful when it is more historical fiction (possibly out of necessity since there’s so little known about her, and they wanted a play). II,1,903. 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. 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! Five years younger than Shakespeare, she outlived him by three decades. Looking for the scripts matching carlén, emilia? ... all ticket buyers will be able to purchase the play script with an exclusive 30 per cent discount. EMILIA 3: Not right now it isn't. The cast of Emilia at Vaudeville Theatre. In the final monologue, Emilia movingly declares, ‘I hold in me a muscle memory of every woman who came before me and I will send more for those that will come after’; we are Emilia’s inheritors. Anyway, I loved the wood and metal scaffolding in the rounded Globe shape on the classic proscenium Vaudeville Theatre stage, and the ever present amber-coloured flood lights (like footlights!) Yesterday was also the Jewish festival holiday, Purim, in which we perform the story of Esther with a very panto style. “We are only as powerful as the stories we tell,” proclaims the third iteration of Emilia in her opening monologue. HG: Quite possibly! ‘Emilia’ at Vaudeville Theatre. There's one gone to the harbour? I can’t help but draw parallels with Emilia: It was satisfying for me to get in my Purim shpiel with Emilia, which I’m counting because of her potential Jewish heritage and because of the style and energy engagement we experienced as an audience. You shall not write my praise. Because it obviously moved many people in the audience. Many Italian Jews were originally from Spain and Northern Africa – Sephardic Jews – and converted but practiced Judaism in secret as “conversos.” Given that we know Emilia was probably of Northern African descent and raised by a Venetian family – a city that in the mid 1500s was a port city that became a refuge for diasporic converted Jews who still wanted to practice Judaism – it makes it a reasonable possibility that her family was secretly Jewish, and that they were part of the migratory population of Jews trying to find a better life. Her play Belongings was produced at the Hampstead Theatre and Trafalgar Studios in 2011 and was shortlisted for The Charles Wintour Most Promising Playwright Award. Home to Methuen Drama, The Arden Shakespeare and Oberon Books, Bloomsbury is the leading publisher in drama and the performing arts. Jews across early modern Europe were being forced to convert to Christianity or be killed in various regimes, notably the Spanish Inquisition. Buy Emilia (Oberon Modern Plays) by Morgan Lloyd Malcolm (ISBN: 9781786824813) from Amazon's Book Store. On one hand, I appreciated that he had more stage time here because it clarified the pacing and structure, but ironically it undoes the feminism of the play: are we supposed to know and care about Emilia because of her connection to Shakespeare or for her in her own historic right? At times it felt like I was watching a pantomime – and this is not to criticise at all – with clear goodies and baddies, direct address to the audience, and an appropriately rowdy audience response. Emilia is concerned. I thought it struggled a bit that way, that these values the Globe upholds in its performances wasn’t doing the narrative any favours because so many components of the show relied on contemporary theatrics: many changes in time, location, character, but at the Globe there wasn’t any lighting or set change to mark these changes or guide the audience to the focus point on the stage. AB: Yes! And yet, I also didn’t feel moved both at the Globe and here! Emilia argues that women are people, too—and so they should have an equal right to cheat on their spouses. I do wonder if there is something we are missing? At one point, the character Shakespeare tells Emilia this theatre is ‘my gaffe’ (a line that worked better at the Globe). 2,495 Followers, 214 Following, 121 Posts - See Instagram photos and videos from Emilia The Play (@emiliatheplay) Emilia is on at the Vaudeville Theatre till 15th June. In that collaboration by a team of women to realise something greater than the sum of its parts, in an auditorium of mainly women, standing on their feet, roaring. Iago. 3. 2. II,1,895. Emilia warns that jealousy can be irrational and uncontrollable. A show you do not want to miss out on! She seemed like a feminist preacher, channelling palpable rage through her body to us in the audience. You have little cause to say so. Is there something wrong with me for not being moved as much as some other people clearly were? Desdemona. Do you think that’s a missed opportunity? I love the panto comparison, particularly because it is a genre stemming from sixteenth and seventeenth-century commedia dell’arte, concurrent with Shakespeare (albeit Italian), and a really popular Victorian past-time, but one that has a lot of similarities with the openness of early modern performance. Like her, I got that guilt with Emilia. HG: Let’s talk about Emilia’s feminism. Choosing her history as a black Jewish woman is excellent, and the all women cast is an excellent idea because these women get to play such a wide range of characters, and because it flips the all-men early modern stage. Part of the narrative of Emilia is about the power of the printed book to survive and memorialise the writer. It is, in many ways, intersectional, both in terms of content and in production process (big respect to Morgan Lloyd Malcolm and the producers for holding a baby-friendly matinee, for example). A European Theatre Dialogue: Repertory Theatre and the Power of the Ensemble, Simeilia Hodge-Dallaway: "I wanted to leave the industry with no option but to see us.". It is a memory, a dream, a feeling of her.” It felt palatable, but not necessarily substantial under analytical scrutiny. AB: There’s a lot of gesturing towards feminist inclusion, definitely! I also worry that I haven’t said that I enjoyed the show. She is the first to suggest that somebody is telling Othello untruths about Desdemona; “The Moor’s abused by some most villainous knave./Some base, notorious knave” (Act 4 Scene 2, Line 143-5). Emilia the Play transferred from The Globe to London West End’s Vaudeville Theatre, and sadly ends its run on June 1st, 2019. Nadia Albina and Sarah Seggari in Emilia at Vaudeville Theatre. The play could be in subtle dialogue with all the programming to commemorate the 100th anniversary of women’s partial suffrage in the UK, in its focus on how women are remembered and forgotten by the stories told of them. Enter OTHELLO, LODOVICO, DESDEMONA, EMILIA and Attendants 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. What I wasn’t sure about was how much, literally, of the play they would keep, and it hadn’t even occurred to me that the physical space change would make a major difference. Ultimately, in early modern Europe, Jewishness and blackness were conjoined differently than they are today. That’s pretty special. Hannah Greenstreet: I didn’t manage to see Emilia at the Globe last August. Author. She is also a playwright and has worked with Soho Writers' Lab, the North Wall Arts Centre, and Menagerie Theatre Company. It felt genuinely incendiary to have this play on that stage, in all its bawdiness and brilliance. As Emilia hits the West End, Hannah Greenstreet and Amy Borsuk discuss its metatheatricality, its Jewish parallels, its role as feminist historical fiction, and more. Design: Joanna Scotcher. The playwright Morgan Lloyd Malcolm tells us in the preface to her new play, Emilia, that “it isn’t an accurate representation of Renaissance England, it isn’t a historical representation. Not really sure where I’m going with this…. Everyday low prices and free delivery on eligible orders. I meet the three actresses who play Bassano, each for about a third of her life — Saffron Coomber (Emilia 1), Adelle Leonce (Emilia 2) and Clare Perkins (who is returning to the role of Emilia 3). Plenty of women, such as women of colour, working class women, disabled women, lesbian/bi and trans women, have felt themselves excluded by the mainstream women’s movement and their activism risks getting erased by a linear narrative. Welcome to Emilia Clarke Daily your online source for all things British actress Emilia Clarke. The irony of making him such a focal point of the printed book to survive and memorialise the.... Anger at inequality is too palatable play without mentioning how it sat in the Globe and here dialogue review you... Premiere at Shakespeare 's Globe in 2018, before galvanising West End production to be second class citizens wherever went. 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