3. space to explore its complexities. Hannah is a writer, academic and theatre critic. 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. HG: I loved that! HG: Let’s talk about Emilia’s feminism. Because it obviously moved many people in the audience. These aren't the most uplifting messages. AB: Yes, absolutely! 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. Jews were made to be second class citizens wherever they went. “We are only as powerful as the stories we tell,” proclaims the third iteration of Emilia in her opening monologue. ‘Emilia’ at Vaudeville 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. She is also a playwright and has worked with Soho Writers' Lab, the North Wall Arts Centre, and Menagerie Theatre Company. Find all about carlén, emilia on Scripts.com! 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. 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). 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. Looking for the scripts matching carlén, emilia? We aim to provide you with all the latest news, photos and much more. An all-female cast will perform in this ‘magnificent production’ ( The Stage ) filled with ‘wit, fierce intelligence and heady intensity’ ( The Times ). Buy Emilia (Oberon Modern Plays) by Morgan Lloyd Malcolm (ISBN: 9781786824813) from Amazon's Book Store. 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. She takes those few fragments of Bassano’s life and concocts a rollicking biography for an all-female cast: a mock history play. (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). Jews across early modern Europe were being forced to convert to Christianity or be killed in various regimes, notably the Spanish Inquisition. As we’re both PhD students, we are unashamedly leaning in to the ‘clever woman’ appellation. In partnership with publisher Bloomsbury, all ticket buyers will be able to purchase the play script with an exclusive 30% discount. AB: Yes I’d love to! 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). You shall not write my praise. 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’’. ... all ticket buyers will be able to purchase the play script with an exclusive 30 per cent discount. But I agree, it was just gesturing. 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. Do you think that’s a missed opportunity? 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. 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). 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. Find out more and book your tickets. Act, Scene, Line (Click to see in context) Speech text: 1. 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. Morgan Lloyd Malcolm is a playwright and screenwriter. 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. 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. I also wanted to join in but wasn’t… feeling it. 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. A show you do not want to miss out on! ! The term could refer to many things: her skin colour, African origins, Muslim or Jewish faith, or a combination of these things. Amy, you told me that you saw Emilia in its first iteration. Emilia is perceptive and cynical, maybe as a result of her relationship with Iago. O gentle lady, do not put me to't; For I am nothing, if not critical. I do wonder if there is something we are missing? It was very well directed by Nicole Charles. 18 likes. HG: That’s fascinating – but almost completely unexplored in the play. It felt genuinely incendiary to have this play on that stage, in all its bawdiness and brilliance. Looking for the scripts matching Emilia? Honestly the changed set was the best part of the transfer. Emilia is a rollercoaster production firing on all cylinders and not stopping for a second to apologise." ... Othello (Characters of the Play) 2. The Web's largest and most comprehensive scripts resource. 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. In Morgan Lloyd Malcolm's electrifying play, Emilia and her sisters reach out across the centuries with passion, fury, laughter and song. Place and time is difficult to establish on the Globe stage, but I don’t think adding more set pieces was the solution. 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. 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. Ultimately, in early modern Europe, Jewishness and blackness were conjoined differently than they are today. 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. It digs more deeply into intersectional feminist issues than the plot developed in Emilia. 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! Emilia is concerned. 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. There's no point in talking abut this play without mentioning how it sat in the Globe. That’s pretty special. She is researching an AHRC-funded PhD on contemporary feminist theatre and realism at the University of Oxford. The missing link seems to be the suffragettes, who are evoked visually on the posters I’ve been seeing all over the tube. 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. And yet, I also didn’t feel moved both at the Globe and here! What were you expecting from the transfer and what has changed? Emilia Analysis . II,1,903. 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). 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. 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. Welcome to Emilia Clarke Daily your online source for all things British actress Emilia Clarke. HG: Yeah absolutely. I read the script before I knew it was transferring and couldn’t quite work out why people were raving about it. AB: Yes! I am struck though by the irony of making him such a focal point of the play. I wanted to do a dialogue review with you Amy as I thought our perspectives would complement each other. 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. You can also purchase the Globe edition of the Emilia … Desdemona. Enter OTHELLO, LODOVICO, DESDEMONA, EMILIA and Attendants Desdemona remembers a maid in her parents’ house who died of love, and sings a sad song that the maid had. 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 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). Webb's play mines an intriguing sidebar of the Civil War - several hundred women fought in the war disguised as men." Photo: Helen Murray. I guess I wanted to learn something new politically, but I’ll take discovering Emilia Bassanio. Emilia. I really like your point about how the production became a dialogue between the Globe space and its theatrical (and political?) It also won three Olivier Awards, including Best Entertainment or Comedy Play. 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. Hannah Greenstreet: I didn’t manage to see Emilia at the Globe last August. You can unsubscribe from newsletters at any time by clicking the unsubscribe link in any newsletter. 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. 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. Soho Writers ' Lab, the North Wall Arts Centre, and Menagerie Theatre Company ( Characters of narrative! The production became a dialogue review with you Amy as I thought our perspectives would each... Opportunity for even more diverse representation take discovering Emilia Bassanio perhaps it is n't its first.. Centre, and Wakefield does the part well beginning of the printed book survive. From newsletters at any time by clicking the unsubscribe link in any newsletter on... 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