The Blog

Every parent and teacher knows how children will be drawn to particular fictional characters. Each narrative world holds a series of figures with whom young people can identify; part of the magic of theatre is that it allows children to embody those characters for a period of time — to literally make believe that they are someone else. But what happens when students turn down a part, resisting a role that could be an exciting fit for them?

For example, we have worked with students who have the maturity to play roles like Hamlet or Juliet, but shy away from the opportunity because the parts are “too serious.” 

Remember, never force a child to play a part with which they are uncomfortable, or which asks them to engage with emotions for which they are not quite ready. But broadly speaking, we have found that diplomatic detective work is very effective. Find out why a student is rejecting the part — is it the number of lines? Is it a specific action that they will have act out? Or is it a fundamental divide between how they see the character and how they see themselves?

A perfect case in point was when we had a young man who was hesitant to perform the opening monologue from Richard III (listen above). At first, he protested that he did not want to play “a bad guy”; up that point, he had only played sympathetic roles like Romeo and Puck. But when we spoke to him in more detail, we were able to explain the complexity of Richard’s position. We talked about his frustrations as the youngest and least handsome of the glamorous York brothers; we invited the child to reflect on moments when he, too, might have felt upset or left out. From there, he recognized a shared experience with the character — and that was enough for him to approach the part with confidence and sensitivity.

Again, the aim here is not to cajole anyone into playing specific parts! But rather, approach such moments as opportunities to encourage young actors to think critically about the material and the way they relate to roles more broadly.

To paraphrase the classic saying: They do not need to find themselves in the character, but they may be able to find some of that character in themselves.

©2022 

The early weeks of Spring are often the most precious. The start of the season (and the end of winter!) brings a renewed sense of possibility — we do not know what lovely happenings are in store, but we can imagine them taking place in the dappled sunlight and with blossoms on the trees.

It is also a time of restoration and — indeed — spring cleaning, not only of our physical surroundings but of our very spirits. For adults, this can mean taking stock of how far we have come since the start of the year; but for children of all ages, it can be an opportunity to let go of old patterns and see what emerges in their place.

In the coming weeks, ask your young actors to take a chance on themselves: are there feelings of self-doubt that they could “clean out” and replace with a sense of accomplishment? Are there old disappointments — perhaps about a part they did not get, or a line they forgot in performance — that could be reborn as optimism for the future?

We all know that gardens do not grow overnight; Nature moves at its own pace. But this Spring, encourage your students to claim this as a season of hope. Or as Shakespeare wrote in A Midsummer Night’s Dream (Act V, Scene 1): Wish them “Joy, gentle friends! Joy and fresh days of love accompany your hearts.”

©2022

In that after-Christmas lull, attention soon turns to the most romantic of holidays: Valentine’s Day. We find ourselves in a rose-tinted world defined by a range of choices — which chocolates or flowers to buy? What card to get a loved one? And perhaps most important of all: Who will be our Valentine?

There was, however, little debate over what play to consider in this post. 

Romeo and Juliet explores romance in its most exquisite and tragic moments — a transcendent love. Amongst all of the impactful passages, one especially stands out: Juliet’s monologue in Act III, Scene 2, in which she anticipates seeing Romeo in the evening ahead. (Listen above.) For Juliet, theirs is a love that goes beyond the boundaries of mortality; even when pondering Romeo’s death, Juliet imagines that he will be “cut […] out in little stars / And he will make the face of heaven so fine / that all the world will be in love with night / And pay no worship to the garish sun.” 

Knowing the fate that awaits the young lovers, these lines are especially poignant. But what makes the imagery striking in its own right is the sense that Juliet sees Romeo himself as a gift. So precious is he, so enchanting, that Juliet wants to share his spirit with the world. Deeply personal and yet totally unselfish, the experience of this kind of love is the true gift that goes beyond the Valentine’s Day flowers and chocolates that we share! Shakespeare’s lines capture the essence of something deeper that we all aspire to — and even if we may not have it this year, there is always the hope that that gift is in our future.

©2022

Several years ago, we celebrated the Festive Season with a reflection on the magic of Shakespeare’s Twelfth Night, a work which remains a joy for its tale and all its comedy — and a treasure trove of thought-provoking passages. 

One that stands out now comes from a song performed in Act 2, Scene 3 by Feste the Jester: “Present mirth hath present laughter / What’s to come is still unsure.” (Listen above.) In context, the words emerge from a love song meant to entertain Duke Orsino’s household staff (read more about the Duke here).

But more broadly, the couplet captures the importance of fully living in the moment. At this time of year, when we focus so strongly on New Year’s resolutions and what we will do differently, it is easy to lose sight of the present. No question, a forward-looking perspective is necessary — but balanced with mindfulness, an awareness of the very moment in which we find ourselves. After all, as Shakespeare tells us, “What’s to come” is ultimately unknown.

This concept brings to mind the words of another more contemporary poet. In his song “Flying Hour,” George Harrison reminded his listener of the need to be here now: “Past is gone, thou canst not that recall / Future is not, may not be at all / Present is, improve the flying hour / Present only is within thy power.” (Listen to “Flying Hour” here.)

And like Shakespeare and Harrison themselves, the present is truly a gift to us all.

©2022

Here at Shakespeare For Our Children, Halloween is one of our favorite times of year: a season of celebrating Shakespeare’s ghost stories, and reflections on the darker side of experience, amongst various “tales of sound and fury.” 

And let us not forget how Halloween allows for us all to become performers for an evening, stepping into a costume and acting out the art of trick-or-treating!

For all of the magic of Halloween, we should remember how theatres themselves can bring together performances and spooky thrills every day of the year. Ghost hunters and aficionados have long identified theatres as some of the most haunted of all spaces. Just think of the countless actors, crews, and audience members who have occupied a given theatre across the years, with all of the emotional intensity and backstage dramas that accompany a production. Theatres are, in effect, supernatural playgrounds — as suggested by a series of stories ranging from Broadway spectres to Scottish phantoms. And we cannot forget London’s Theatre Royal Drury Lane (pictured above), widely believed to be the world’s most haunted theatre.

Not everyone believes in ghosts, of course; for some, plays present just enough of a world of make-believe! But at this time of year, it is always worth remembering Hamlet’s words to his skeptical friend: “There are more things in heaven and earth, Horatio, than are dreamt of in your philosophy” (Act 1, scene 5).

©2021

Last week’s Harvest Moon reminded us all that autumn is the season of transition and, indeed, of reaping all that we have planted — literally and figuratively! — over the spring and summer. 

The idea of the harvest is a perfect metaphor to help students think through the hard work that they are bound to do.

This is especially important midway through the semester — when the first flurry of back-to-school activities has passed, and you are not yet working towards a big festive production. Learning about Shakespeare’s complex plays and characters, as well as his own life and times, is no small endeavour. But when the lines seem too challenging the memorize, or the historical context too difficult to grasp, remind your students of the rewards that they will glean from these efforts. 

To that end, it is also worth talking through the concept of a “reward” more broadly: The benefits of studying lines do not just emerge in a standing ovation, nor is a good grade on a test the only measure of understanding. Being diligent and taking care with the material — whether Shakespeare’s words or any scholastic endeavour — is a reward in itself. In so valuing their studies, students learn how to value themselves; how, that is, sowing effort leads to a harvest of self-confidence and self-respect. 

©2021

It is always such sweet sorrow to part with Summer.

But over the years, we have had the pleasure of bringing a touch of Shakespeare to the back-to-school season. Now, we want to share a few of our favourite posts – greatest hits! — about easing the return to school days for children, teachers, and parents.

In fact, our very first post was about how Charles and Mary Lamb’s classic Tales from Shakespeare can offer thought-provoking reading for students who might need some distraction from the back-to-school blues. More specifically, have a look at this piece about the many parts we play both in real life and on the stage for young people who may be nervous about starting a new school.

Giving students a greater perspective about this phase of their experience can help ease some of the immediate “stage fright” about fitting in and making friends. And for parents or teachers who are looking to open young minds to the world of Shakespeare, always remember that all the world’s a stage. Worry not about formal theatrical settings; Shakespeare can be brought to life anywhere with just his words.

Speaking of which: Remember the importance of “to thine own self be true.” Ask your students or children to think about this line. What does it mean to them? How can they stay “true” to themselves? In these back-to-school days and beyond — at any age, in fact — these are eternal essential questions.

©2021

In Sonnet 116, Shakespeare explores the poignancy and beauty in the “remembrance of things past,” ending with the couplet: “ . . . [I]f the while I think on thee, dear friend / All losses are restor’d, and sorrows end.” (Listen above.)

Of course, theatrical performances have always been associated with the ephemeral — moments in time that one simply has to be there to experience. Though it is always bittersweet to see a long-awaited performance come to an end, there are still ways to “restore” that special event.

Now, the prevalence of recording technologies allows us to share those moments with the world; but for all that digital media offers us, the immediacy of live theatre — especially now — is a treasure in itself. As you look ahead to future performances, think of ways to supplement recordings with material souvenirs of the shows. How can you offer the children something tangible that can be held in the palm of their hands, and not just on the screens of their phones?

One tradition is to have the young actors sign each other’s programs; you could even take things a step further and encourage the students to start scrapbooks related to the show. Mementos from the rehearsal process and the performances themselves — photos, tickets, programs — can be documented in the pages. As well, we have always suggested that the children create their own “hero books” capturing all of the things that they are proud of and value from the experience.

Shows will come and go, but preserving those wondrous “things past” will allow these future adults to reflect on their live moments on-stage with pride and a renewed understanding of all they accomplished.   — Janice Salzberg ©2021

On this Memorial Day weekend, we at Shakespeare For Our Children® want to honour the men and women who have served our country ― the heroes of our past, present, and future. 

With that in mind, we invite you to have a listen to the reading above of the legendary St. Crispin’s Day speech from Henry V.

Here, King Henry rouses his troops ― greatly outnumbered ― to the Battle of Agincourt in 1415. 

Though grounded in a specific historical moment, the speech has endured over centuries to capture the solidarity of any “band of brothers.” In times of peace, may we always commemorate such impossible courage.

©2021

Spring not only represents universal renewal and growth ― it also brings with it Shakespeare’s birthday!

It is generally believed that the Bard was born on April 23^rd; but rather than limit the festivities to a single day, we at Shakespeare For Our Children® like to think of the date as only the beginning of a season of celebration.

As the weather becomes warmer and the days grow longer, we can imagine creative ways to bring Shakespeare into Nature itself ― putting on scenes in a neighborhood backyard, or perhaps a public garden space ― and bringing the sparkling romance of “Much Ado about Nothing” or “A Midsummer Night’s Dream” to our landscape.

And always remember ― “all the World’s a Stage!”

You can also keep things low-key: Take your children to a park, and let them sketch their surroundings while you read aloud from storybook retellings of those plays and others. (We love Bruce Coville and Charles and Mary Lamb.)

During this period of such upheaval and change, Shakespeare has remained a marvelously “ever-fixed mark.” As we now embrace brighter days, in every sense of the word, let us celebrate the majesty of his life ― and honour how his work has enriched our own.

©2021