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What wouldst thou write of me, if thou shouldst 905 praise me? Jews across early modern Europe were being forced to convert to Christianity or be killed in various regimes, notably the Spanish Inquisition. This time, the focus will be on this exceptional woman who managed to outlive … 18 likes. The play as a whole seems to be working with that progress narrative of history. Emilia Analysis . Part of the narrative of Emilia is about the power of the printed book to survive and memorialise the writer. You can also purchase the Globe edition of the Emilia … 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. 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. There's no point in talking abut this play without mentioning how it sat in the Globe. 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. Performing @theoldrep on the 21st and 22nd January. 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. It was very well directed by Nicole Charles. There’s a bit of discussion of privilege, and her allying with the workers is a gesture towards contemporary class solidarity. I also wanted to join in but wasn’t… feeling it. 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. Honestly the changed set was the best part of the transfer. Photo: Helen Murray. AB: Yeah, it was enjoyable! 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). All Acts are listed on the Othello text page, or linked to from the bottom of this page.. ACT 4. Enter OTHELLO, LODOVICO, DESDEMONA, EMILIA and Attendants Because it obviously moved many people in the audience. Emilia is on at the Vaudeville Theatre till 15th June. The missing link seems to be the suffragettes, who are evoked visually on the posters I’ve been seeing all over the tube. 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. 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. Photo: Helen Murray. Could you say a bit more about what being Jewish meant in the early modern period – the production didn’t have (make?) 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. She takes those few fragments of Bassano’s life and concocts a rollicking biography for an all-female cast: a mock history play. Not really sure where I’m going with this…. Emilia received its acclaimed premiere at Shakespeare's Globe in 2018, before galvanising West End audiences the following year. In Morgan Lloyd Malcolm's electrifying play, Emilia and her sisters reach out across the centuries with passion, fury, laughter and song. 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. 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. 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. I wonder also whether it’s something to do with the play’s use of anachronism/ take on history. space to explore its complexities. The play, written by Morgan Lloyd Malcolm, gives us a glimpse into the life of the seventeenth-century poet Emilia Bassano … But I think the power of Emilia the play is in its theatrical performance. Five years younger than Shakespeare, she outlived him by three decades. Everyday low prices and free delivery on eligible orders. Find all about Emilia on Scripts.com! Is there something wrong with me for not being moved as much as some other people clearly were? 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. 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. (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." Nadia Albina and Sarah Seggari in Emilia at Vaudeville Theatre. For information on how we process your data, read our Privacy Policy. No, let me not. connotations, and the Vaudeville theatre space. Clare Perkins is phenomenal, true, and she gets to dig deep into rage and passion here. 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. Looking for the scripts matching carlén, emilia? 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. Essentially, the reality of Jewish life in Shakespeare’s Europe lends itself to very riveting, complex drama. More info here. She seemed like a feminist preacher, channelling palpable rage through her body to us in the audience. AB: Yes, absolutely! 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. Desdemona. However, maybe some of the moments of stating the obvious is also due to the embrace of a more popular theatrical style. She is researching an AHRC-funded PhD on contemporary feminist theatre and realism at the University of Oxford. SCENE 3. Photo: Helen Murray. It felt genuinely incendiary to have this play on that stage, in all its bawdiness and brilliance. Find out more and book your tickets. Emilia Bassano, a poet and freethinker who founded a school for women, was born in 1569. At one point, the character Shakespeare tells Emilia this theatre is ‘my gaffe’ (a line that worked better at the Globe). I feel I was pretty on the nose about that. Because I really wanted to be moved, to join in with that…but I couldn’t quite feel it. Making Shakespeare that awkward comedic character was good fun, and Wakefield does the part well. 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. 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. (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). 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. I read the script before I knew it was transferring and couldn’t quite work out why people were raving about it. AB: Yes! for that metatheatricality as you say, and for the metaphor of contemporary materials serving as the real structural support for the early modern. Come on assay. Something fundamentally different to most West End theatre. Too safe? Emilia argues that women are people, too—and so they should have an equal right to cheat on their spouses. HG: Yeah absolutely. 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! She is London Reviews co-Editor for Exeunt, with a focus on fringe and Off-West End theatre. Like her, I got that guilt with Emilia. Desdemona. 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. Perhaps it is that willingness to share that catharsis? 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. Part of the narrative of Emilia is about the power of the printed book to survive and memorialise the writer. We aim to provide you with all the latest news, photos and much more. 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