Irish Renaissance Seminar at Ulster University – May 18th

“SHAKESPEARE, ULSTER, BEYOND”

A meeting of the Irish Renaissance Seminar

Saturday 18th May 2019 at Ulster University, Belfast

For further information on this meeting of the IRS, please contact the organisers Kevin De Ornellas and Alisa Hemphill.

SCHEDULE

11.00-11.15: Welcome – in the Conor Lecture Theatre:

Kevin De Ornellas, Ulster University, co-organiser

Frank Ferguson, Ulster University, Research Director for English

Tom Maguire, Ulster University, Head of School of Arts and Humanities

11.15-12.05: Shakespeare in India:

Thea Buckley, Queen’s University, Belfast: “Indigenising Cleopatra as South India’s avenging goddess in Jayaraj’s Kannaki”.

Rosa Maria Garcia Periago, Queen’s University, Belfast: “Localising Romeo and Juliet in Sanjay Leela Bhansali’s Ram Leela”.

12.05-1pm: (Later) Early Modern European Histories:

Gabriel Guarino, Ulster University: “Sexuality and its Discontents: Marital Tensions and Sexual Defamation in the Court of Bourbon Naples, 1734-1799”.

Andrew Sneddon, Ulster University: “Representing Irish Witchcraft in ‘fact’ and ‘fiction’”.

1pm-1.40pm: Lunch

1.40-2.40pm: Legacies of the Past: Perspectives from around Ireland:

Emily Allen, National University of Ireland, Galway: “Lost Lands and Language: rhetoric of women’s petitions for land during Ireland’s Desmond and Baltinglass Rebellions”.

Nathan Dooner, University College Dublin: “Reactions to a gender-based vocabulary”.

Dónall MacCathmhaoill, Ulster University: “Save the Rose! Space and place in the campaign to preserve an Elizabethan theatre.”

2.40-3.20pm: Keynote Address:

Tom Maguire, Ulster University: “When Shakespeare’s not our contemporary: retelling, adaptation and contemporary children”.

3.20-3.30pm: Break.

3.30-4.20pm: Problems: Books, Brexit:

Marie-Louise Coolahan: National University of Ireland, Galway: “‘My lady’s books’: Devising a toolkit for quantitative research; or, What is a book and how do we count it?”

Stephen O’Neill, National University of Ireland, Maynooth: “Brexit Cliff Notes: Finding Refuge in Shakespeare’s King Lear”.

4.20-5.30pm: Adaptation, Animals, Performance: Four perspectives:

Amanda Finch, Ulster University of Ulster: “Cross-Gender Casting and Violence in Contemporary Performances of Shakespeare’s Comedies”.

Alisa Hemphill, Ulster University: “A common treasury for all: levelling  the animal-human divide through the Digger movement, 1649-1650”.

Kelly McCloy, Ulster University: “‘Alien’: Arnold Wesker and The  Merchant of Venice”. 

Alex Watson, Royal Holloway, University of London: “Protest in Contemporary Adaptations of Shakespeare’s Roman Plays”.

5.30-6.30pm: Conference close and reception


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Review: Macbeth at the Mill Theatre, Dundrum

Review: Macbeth at the Mill Theatre, Dundrum, Dublin, October 3rd-26th, 2018, directed by Geoff O’Keefe

Review by Ema Vyroubalová, Trinity College Dublin.

This was an engaging and fast-paced production, notable particularly for its rendering of the Witches, intriguing choices of doubling, tripling, and even quadrupling of roles, as well as an imaginatively conceived yet also very functional stage set. Because the play opens with the three Witches on stage, how a particular director chooses to portray this trio helps set the tone of the rest of the production. O’Keefe’s Witches were dressed in loose black garbs and hooded capes, designed to enable the actors to see but to prevent others from seeing their faces. The effect of these costumes (designed by Olga Criado Monleon) was quite eerie, especially as it gradually became clear to us in the audience, from the changing voices and the varying statures of the black-clad figures, that the roles of the witches in different scenes were being rotated among different actors. A look in the programme indeed reveals that five of the nine cast members play a witch at some point: Shane Quigley Murphy is both a Witch and Lennox; Andrew Kenny, Matthew O’Brien, and Ailbhe Cowley are triple-cast as Witch/Banquo/Doctor, Witch/Malcolm/Murderer, and Witch/Ross/Gentlewoman respectively; and Eanna Hardwicke gets to be Witch/Captain/Fleance/Young Siward. I suspect that the bundling of parts was to some extent prompted by budgetary constraints and/or availability of actors. But the unusual implementation of this bundling in regards to the Witches presents these figures as ubiquitous forces that not only shape the play’s events but that also somehow emanate from the world of the play’s human protagonists rather than from a separate supernatural realm.

It is worth noting that the production avoided the more common double-casting of Lady Macbeth with one of the Witches—likely because it would have implied the kind of too specific pre-emptive power dynamic between the human and the supernatural worlds this production sought to steer clear of. The Witches appeared as silent characters in a number of scenes where Shakespeare’s playscript does not call for their presence. They hovered in the background or foreground, watching the others’ actions or enacting inscrutable ceremonies around the cauldron (which stood at the front of the stage for the whole duration of the performance) and over a miniature replica of a semi-derelict medieval castle hall (or perhaps the nave of a church?) (which was located near the right-hand stage exit). As they did so, they periodically emerged out of dark corners of the set only to blend back into them. This underscored the witches’ omnipresence in a very physical way, by literally keeping at least one of them on stage for the majority of the show. A Witch thus watches as Duncan receives Macbeth to give him the good news of his newly gained title; a different Witch listens as Lady Macbeth reads out the fateful letter from her husband and then observes from the background the meeting between the Macbeths. The resulting integration of the Witches into virtually every moment of the play, whether through the overlapping in the casting of the majority of the roles or their insertions into most scenes as silent figures, ironically makes it very difficult to hypothesize about their roles in the play’s moral universe. They can be seen as representing everything, anything, and nothing at the same time—similar to how the dark void of the colour black results from absorbing all frequencies of light.

The remaining double and triple casting choices would seem to confirm this production’s refusal to locate the source of evil in the play somewhere in the triangle of usual suspects constituted by Macbeth, Lady Macbeth, and the Witches. Jed Murray plays both MacDuff and one of the Murderers while Damien Devaney plays Duncan, Porter, and Seyton. Only the roles of Macbeth (Neill Fleming) and his wife (Nichola Macevilly) are spared from this production’s love affair with doubling and trebling of roles, which ultimately emphasises the couple’s isolation and self-consuming despair. The set, designed by Gerard Bourke, creatively utilised the whole available space both vertically and horizontally as it included tree trunks, rocks, and caverns that the actors could variously position themselves on, in, or under. The set also featured a human skeleton and a partially burnt cadaver ominously suspended above the stage and periodically lit (lighting design by Kris Mooney) so as to cast shadows on the actors and actions below. I was a little disappointed by the elimination of many of the passages from the so-called Hecate scenes, especially since the witches and their ever-present cauldron otherwise play such a central role in this production. Another slight disappointment was the beheading of Macbeth’s corpse at the very end of the production, which prompted confused laughter from a portion of the audience as the special effect looked rather cheap and came across as almost comical, which did not appear to be the production’s intention.

Review by Ema Vyroubalová, Trinity College Dublin.

the-three-witches-by-henry-fuseli

Henry Fuseli’s 19th c. painting of the three witches