Shakespeare on Zoom

Shakespeare on Zoom: how a theatre group in isolation conjured up a Tempest



Madeleine MacMahon as ‘Sebastianne’ in a live production of The Tempest by Creation Theatre from 2019.
Creation Theatre/ Big Telly Theatre Company





While theatres remain closed, the way we watch Shakespeare is changing. When I picture the audiences Shakespeare would have written for, I think of the groundlings in Shakespeare in Love(1998). They stand, arms on the edges of the stage, staring upwards, eyes filled with tears – laughing, clapping, gasping. They are part of the show – and they show that they’re there. In the bright afternoon sun, the actors can see and hear every reaction.

Right now, of course, it’s not possible to take a trip to the playhouse. Still, with the National Theatre, the Globe, and the Really Useful Group moving quickly to put past performances online, the theatre can come to us via YouTube. We can see and hear the actors (and, having watched Hamlet, Jane Eyre and The Phantom of the Opera, I’ve been very grateful for it). But even though we can tweet our reactions, the actors can’t see or hear us.

The possibility of live performances during lockdown might change that. Over the Easter weekend, I watched an Oxford-based theatre company, Creation Theatre, and their co-producers at Big Telly Theatre Company from Portstewart in Northern Ireland, put on a production of The Tempest via video conferencing platform Zoom.

It seemed a tricky challenge under lockdown, with each cast member performing (and rehearsing) from home. Indeed, as chief executive and creative producer Lucy Askew warned before the play began, the night’s events were at the mercy of the technological gods.







But, when the play began and Ariel conjured a storm, suddenly it became clear that – despite our isolation – we too were part of the action. The audience’s microphones (muted while the actors spoke) were suddenly raised and we were asked to click our fingers to make it rain. The screen was full of audience members – and their pets, and their glasses of wine, and their pyjamas – and the storm was, even if I say so myself, convincing.

Within the space of an hour, the audience asked Antonio for answers via the chat function as he boasted of his usurpation of Prospero, we blew wind into the path of his ship and – in lieu of a banquet – all held up an offering of snacks (chocolate biscuits, from me). Each time other audience members appeared on screen, there was a rush of excitement as we got to see one another.

Listening to the island.


Shakespeare knew the importance of his audience’s reaction. At the end of The Tempest, Prospero relinquishes his magic and asks for something in return:


But release me from my bands

With the help of your good hands.

Gentle breath of yours my sails

Must fill, or else my project fails.

It’s a moment when we are asked to make some noise – to clap with our “good hands”, to cheer (or whistle, or shout) with our “gentle breath”. Prospero’s redemption, if we allow him that possibility, comes from finally turning outwards, it comes from him seeing the necessity of his connection to others – to his daughter, to his once-forgotten subjects in Milan, and, perhaps, to us.

Yet, for all of the noise we made, this new medium exposed the myriad kinds of loneliness in The Tempest. Prospero sat in front of a backdrop of television screens, reminding us that we were all at one remove from one another. When Caliban described the noises of the island, the “Sounds, and sweet airs that give delight and hurt not”, it was painfully apparent that he was alone and that there was nothing real to hear. When Ferdinand proposed to Miranda and reached from his screen to hers in an impressive feat of Zoom technology, that brief moment of “contact” was bittersweet.


After all, the despair of being alone is a fear which Prospero seeks to create. As ordered, Ariel deliberately scatters the shipwrecked courtiers across the island. Yet, as John Donne, a contemporary of Shakespeare, wrote:


No man is an island entire of itself;

every man is a piece of the continent, a part of the main.

The dispersed groups come back together – Prospero leaves his island exile, and returns home. It’s not a perfect resolution, and it’s not a happy ending, but it is, nonetheless, a reunion.

Somewhere new?


As site-specific, conference call plays go, The Tempest lends itself to such a production. It’s a play about isolation and exile, about characters moving around a small island without ever meeting one another. Creation’s performance did nothing to disguise its new medium. In fact, the most powerful part of the performance came as Prospero spoke the famous epilogue which begins: “Now my charms are all o’erthrown”.

The cast slowly and methodically packed up their bedsheet green screens and wiped off their makeup. They changed their onscreen identities from their character’s names back to their own. By the time we were invited to stay on Zoom for a moment or two, to catch up with friends, thank the actors, and wave goodbye, the spell was broken.

But the magic may not be entirely over, not least as the popularity of their performances have led to Creation extending its run. Moreover, The Tempest is not the only play offered in this new genre of “Zoom Shakespeare”. Another group of actors recently collaborated to create A Midsummer Night’s Stream, which they advertise not simply as a reading but a live performance, “adapted for our stage”. And there is no reason to think that “Zoom Theatre” will stick to Shakespeare.







While we will (to entirely misuse one of Prospero’s lines) return to a time when we “have no screen between this part he play’d/And him he play’d it for”, Zoom Theatre may not be a temporary measure. Perhaps new plays will be written with the possibilities of Zoom and YouTube in mind. For many, watching theatre from home will allow for greater access and comfort. And, for now, speaking back, making noise, and waving at strangers, could inject a bit of silliness into our own isolated worlds.The Conversation

Laura Jayne Wright, Stipendiary Lecturer in English, University of Oxford

This article is republished from The Conversation under a Creative Commons license. Read the original article.

Labels

Amanda Palmer Amazon ambient Andrew Elias andy warhol animal farm anna freeman anonymous Anthropocene Anthropology Anxiety Archaeology aristotle ars electronica arse art art news Art therapy Arthur O'Shaughnessy articles artists Arts Arts funding artzine ash audience australia avant garde Axwell babel bacon Bacteria bame bangalore Barnabe Barnes bat bats BBC BBC charter BBC licence fee BBC television Be Bop Deluxe beardsley bebop beer bengaluru Berlin Berlin Wall Bhutan bigotry Bill Nelson Billy Bragg billy childish Bird conservation Birds Black academics Black history Black History Month 2019 black lives matter blinded by the light blue light Blur Boards Bob Dylan Boris Johnson bow box sets British art British Empire British Museum Bronze Age Byron Camper Van Beethoven cartoon Cate le Bon cats cds charity charlie chaplin Cheese Cheesemaking childhood rhyme choir Christina Rossetti christmas cinema Classical music Climate change clothing Clubs Cold War collage colonial Comedy Coming up for Air Community competition Composition Coolio coorg Coronavirus Courtney Barnett covid-19 COVID-19 lockdown COVID-19 recovery creative industry creativity Cultural institutions culture curator curious Curious Kids D H Lawrence dale harding dance Dance music Darren Hayman David Bowie david hockney death declan welsh deliveroo democracy Desert locust destruction Diet digital Digital archives DJs Dominic Cummings Dóra Maurer Doris Day download Dr Johnson dream Drenge drums Dumfries dundee Dylan Thomas e-book E. E. Cummings East Germany ECO economics economy Edgar Allan Poe Edna St Vincent Millay Edward Lear electronic Elizabeth Barrett Browning Employment English language Ensemble environment Epicurus Erasure Eric Ravilious Esra Furman essays Ethnic minorities European Research Group Evelyn Ida Morris exhibition extinction rebellion Ezra Furman facebook fashion Federico García Lorca Feminism Feminism and art festival film folk fontaines dc Fontaines DC Food Food science foot artists France free free russia Future Gare Loch GDP gender inequality George Gascoigne George Harrison George Orwell Gig economy Glasgow Global perspectives Grammar Grayson Perry green issues grenfell Grime grotesque handel happiness Harry Graham hate Heatwave heaven 17 heritage heroes history hogmanay Hollywood homeless Homer Hot Chip humour if you feel it it's real iggy ignorance illustration Inclusive Music Making india indian Indie music Industrial Revolution instagram Interdisciplinarity international labour day international workers day interweb Iron Age Isolation Italy ITV Jack Peñate James Joyce James Taylor janey godley jazz John Cooper Clarke John Keats john Lennon John Linney Journalistic ethics Judi Werthein kara walker Karl Marx Karnataka kat himmel Katharina Garrard (no relation) Katherine Mansfield Keep the Aspidistra Flying keith haring Ken Loach Ken Sprague kensington Kenya Khalil Gibran labour Lamb Language Laurie Anderson les dennis Lewis Carroll lgbtq lgbttqi lights literature live performance lockdown Locusts london love lucy spraggan lyrics Mae West Malcolm X manchester Martin Niemoeller Marvin Gaye Matthew Arnold may day Maya Angelou McGonagall Meat Meat eaters memorials mental health messiah MGM Michael Sailstorfer Milk Milton mind MISSY HIGGINS Mistakes Mobile apps modern Monty Python moon Museums music music hall Music therapy music venues Musicals my map mysore mysuru nanohour national gallery of scotland National Orchestra For All neil finn news nhs norfolk norwich Nostalgia Not sure if it's a poem novara media Ocean Colour Scene of course older age Older people Oliver Herford online Opera Orchestras For All Ensemble Ornithology oxfam pain Paramount Pictures Patrick Staff Paul Garrard Paul McCartney Pay gap peace Pensions financial planning people people power perception Performance Philip Larkin photo photography photos picture pitchfork podcasting podcasts poem Poet Laureate poetry Political accountability Political communication Political journalism politics Pop music poster pottery poverty Primal Scream print printing prints Psychasthenia public domain pubs Purple pussy riot quote Race racism radio rainbow Raves RBSA Relaxation religion research Retirement Rewilding Richard Hawley Ringo Starr Robert Burns Robert Frank Robert Herrick Roman Empire Rose Finn-Kelcey Roy Lichtenstein Rudyard Kipling Rutles salad sandalwood satire sayings science scooty Serpentine sex Shakespears Sister Shelley Shocking Blue Sierra Leone silvery tay sin Sixties Sixties culture sketches Slave Trade Sleaford Mods snippet Snow Patrol social media socialism soundscape sparks Species reintroductions springsteen stained glass stand up comedy Stanley Spencer Steve Knightley Stewart Lee stratford-upon-avon streaming Strypes stuff Swinging Sixties Switzerland Sybil Andrews Sydney Smith taking back control tapes tate tay Techno music Telegram Tennyson the arts The Beatles The Clergyman's Daughter The Jam The National Gallery The Only Ones The Pocket Gods Theatre thing tips toilet humour tories traffic trains Transatlantic slave trade Trumbull Stickney trump Turner Prize twitter type Uber UK comedy UK culture UK economy UK election 2019 uk music UK politics UK pop music UK theatre UKIP understanding Unemployment unfinished unions Universities unknown author US movies valie export Van Gogh Veganism Vegetarianism Victorians video Vijaya Vitthala Temple vinyl Voter registration Voting W B Yeats wanted war Wassily Kandinsky water Wellbeing Welsh poetry Wendy Cope West Germany Wetlands WH Auden whales WhatsApp Wildfire Wilfred Owen William Blake William Shakespeare William Wordsworth Wilson Keppel and Betty Wolfy O'Hare women women academics Women in film woody guthrie Wordsworth working from home yeah yeah yeahs Young Composer Youth Orchestra Zero-hour contracts Zoom
Show more