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There is no doubt that summer has a special place in Shakespeare’s world.

Think of the magic of A Midsummer Night’s Dream, or the transcendent love of Romeo and Juliet; equally famous is the beauty of the sonnet that begins “Shall I compare thee to a summer’s day?” And even hundreds of years later, beloved series The Magic Treehouse would invite readers to experience Stage Fright on a Summer’s Night. There is just something about this season that invites a celebration of possibility ― a time outside of the classroom where children can make any world a stage.

In our summer sessions, we often head into the sunshine to think about the connections between Shakespeare and nature. If things are going slowly with rehearsals, or everyone is feeling a bit tired, we use the landscape to give us renewed inspiration. One activity that will also work for your troupe is to write poems ― our own odes to the summer’s day! These poems do not need to be as formally structured as Shakespeare’s Sonnets (though some students may attempt it!); instead, encourage the children to try to put into words a mood, sensation, object, or even a colour in the environment around them ― just like Shakespeare did.

In her brilliant study Shakespeare of London, Marchette Chute tells us that he wrote the Sonnets while theatres were closed in the time of the plague (between 1592 – 1594). As you sit outside with the children, you can share a bit of this historical context and ask them to consider how Shakespeare created such beauty even in a difficult time . . . and in turn how they, centuries later, can make the most of these lovely summer days.

©2023

Across our posts, we have consistently emphasized the significance of Theatre as a community: thinking about the Platonic love of an acting troupe, the different ways in which every child can contribute to a production, and even the various theatre games which help foster an enhanced sense of camaraderie and trust.

In undertaking any formidable enterprise ― such as the creation of a production, working with an entire cast, and technical production team ― it is key to emphasize that each action has value. (Just as, in fact, every one of Shakespeare’s words and roles has value!) Such large-scale endeavours are accomplished on a daily basis through responsible decisions and supportive gestures; moments in which an individual chooses kindness when it might be just as easy to focus on themselves.

As Portia, a lawyer who seeks to right a wrong, observes in The Merchant of Venice, “How far that little candle throws his beams! So shines a good deed in a naughty world” (Act 5, Scene 1). 

It is understood that while young actors may not be exactly “naughty”, there will be days when they will need to be reminded to make thoughtful choices: Is there an opportunity to help a fellow thespian run their lines, or to calm a bout of stage fright with a reassuring word? Might there be a point to reflect on a careless action that has slowed down a rehearsal or distracted another cast member? In the past, our children would always declare “The play’s the thing!” in such moments; lately, we have started to remind each other to “light a candle!” when things get a little challenging. 

The performance itself is an admirable shared goal, and we all want our children to have their moment in the spotlight ― and it is equally true that such success emerges from the light of many glorious little candles along the way.

©2023

Now that spring is in full swing, we wanted to think about themes of renewal and regeneration — and we found one of the finest examples of this in a previous post on theatre as “The Greatest Gift.” There, we focused on a remarkable episode from the “This American Life” radio program — listen here.

First broadcast in 2002, the episode chronicles the work of the Prison Performing Arts organization and its staging of Hamlet in the Missouri Eastern Correctional Center, directed by the peerless Agnes Wilcox. With the inmates themselves performing in the production, and reflecting on their lives as they inhabit the characters, this is indeed a celebration of the transformative power of Shakespeare’s theatre.

Though a great deal of the content would be too intense for children, teachers can learn much from this documentary about the literally life-changing impact of entering Shakespeare’s world. As one inmate explained, “After doing this, I felt like I was human again . . . Like I really could do anything when I get out.” This is truly the greatest gift that theatre gives us: a feeling of shared humanity, of creativity and accomplishment. It brings to mind the words of one of our young Shakespeare For Our Children actors following a performance: “I felt like I was flying! I know I’m going to dream about this tonight.” 

What unites the responses of a young child and an adult prisoner? The shared feeling of liberation, of belonging, on the stage. For with his profound understanding of human nature, Shakespeare’s words allow us to express the truths of our universal experience — no matter our circumstances. 

©2023

Over the years we have taken Valentine’s Day as an opportunity to explore Shakespeare’s romantic world. Whether thinking about famous couples like Romeo and Juliet, or the more unlikely match between Titania and Bottom in A Midsummer Night’s Dream, we have certainly been a bit love-struck at this time of year.

Now, though, we wanted to focus on a more Platonic love: That which exists between the actors and a production.

Let us hasten to say that no troupe is perfect: Any group enterprise, no matter the profession or context, brings with it the potential for conflict. Given that, it is all the more important to highlight for young actors the values of camaraderie and community. Shakespeare, of course, wrote much about the complexities of friendship, as this fascinating article by scholar Will Tosh explains; but the shared purpose that “putting on a play” requires exceeds even this kind of bond. “The play is the thing” which unites every theatrical ensemble — it is both the driving force behind and the final result of rigorous rehearsals and pre-production planning.

How interesting it is then to reframe this team-work in the bigger picture of Valentine’s Day. Rather than focus primarily on romantic or even family attachments, this season could also be about Shakespeare more broadly: uniting love for his works, respect for the production process, and admiration for the fellow performers (and stage managers, costume and set designers!) who work together to bring a play to life.

So this February 14th, encourage your students to celebrate “the band of brothers” who work together both on the stage and behind the scenes.

©2023

Like most of us each year, students at Shakespeare For Our Children set out their New Year’s resolutions, itemizing what they wish to do better or differently: Learning lines more quickly; getting over stage fright; or playing a type of part they have never attempted before.

But often, our young actors focus so much on listing practical plans that they forget the spark that animates such intentions: Inspiration. Why do these specific goals matter so much? What is the bigger purpose they serve?

The Oxford English Dictionary defines inspiration as “A breathing in or infusion of some idea, purpose, etc. into the mind; the suggestion, awakening, or creation of some feeling or impulse.” And at this time of year, such ideas and purposes are oriented towards becoming the person we believe we have the potential to be. Or, to borrow from Ophelia’s poignant statement to Hamlet (Act IV, Scene 5): “We know what we are, but know not what we may be.” 

This is why it is so important to remind young actors that setting admirable goals is not simply a checklist or annual routine but a means of becoming the individual that they wish to be ― that they may be. Learning lines quickly is important not only because of personal discipline (carrying out a responsibility) and “team spirit” (belonging fully to a “Community of Performers”), but also because feeling confident in knowing our dialogue frees us up to truly embrace the character and what our performance could be. And trying out a different kind of role is not just about testing talent but also about expanding the scope of one’s experience. 

Emphasizing the inspiration behind the resolution can help children put the latter in perspective. We all know that things do not always go according to plan, and that what seems important in January may not be a priority in July. But remembering what awoke those resolutions in the first place will ensure that the person we wish to become is never too far away.

©2023

Ghosts and the supernatural are a central part of Shakespeare’s world. In previous posts, we have explored the ghost of Hamlet’s father — whose revelation about his murder begins the action of the play — and the Three Witches in Macbeth, who foretell the fate of the future king. As this fascinating resource from the British Library discusses, there are many, many more spooky encounters across all of Shakespeare’s plays! 

Prompted by Halloween — our favorite season here at Shakespeare For Our Children — we started to think more about Shakespeare’s ghosts … and how best to bring them (back) to life on the stage. 

The first strategy that comes to mind, of course, is costuming and make-up. You can take the classic approach: dressing in black, grey, or white; powdering the hair and face to create a chalky, mask-like texture. Or you could go a less traditional route, dressing the young actor in the same kind of garb that other cast are wearing. This can evoke an even eerier sense that the supernatural figures are walking among the characters in their “real,” everyday lives — which, in Shakespeare’s landscape, they sometimes are.

Another way to signal an otherworldly presence is through musical cues. Maybe an eerie melody introduces Hamlet’s father whenever he appears; perhaps a skirl of the bagpipes heralds the Three Witches. And depending on available equipment, you can also design lighting effects to literally highlight and isolate the character — they can step out of the shadows and into a spotlight, for example.

But even leaving aside all these ghostly trappings, the most important thing is the performance itself. Ask your children how they hear or see these characters in their minds, and then think about ways to fully realize that vision. Would it be through a certain tone of voice? Or perhaps a distinct type of body language they can adopt?

As ever with Theatre, you and the young actors can have fun imagining all the possibilities!

©2022

In Shakespeare’s lifetime, several of his plays — including Love’s Labor’s Lost and The Merry Wives of Windsor — were performed for Queen Elizabeth I at her Court. (Read more about her here.) For all of the historical fascination that this royal patronage holds, we wish to focus here on Shakespeare’s connection to another noble figure: Queen Elizabeth II.

How to pay tribute to a truly majestic and beloved monarch?

For King Charles III, the only answer was to turn to Shakespeare. In his address to Parliament, Charles borrowed from Henry VIII to describe her as “a pattern to all princes living.” And in a public address, he closed with the loveliest blessing of all from Hamlet: “May flights of angels sing thee to thy rest.” 

In recent days, the Shakespeare Birthplace Trust in Stratford-upon-Avon has published a compelling overview of Queen Elizabeth II’s decades-long relationship with Shakespeare’s legacy. He represented, simply, a golden thread across her lifetime: From her youth as a Princess reading Shakespeare’s works to her reign as Queen, she often visited Stratford. 

Shakespeare knew that “all the world’s a stage” — and how beautifully did Queen Elizabeth II ever grace it for so many important years.

©2022

Every so often, we like to highlight specific books that have made a big impression on our students and teachers. Whether Marchette Chute’s classic history Shakespeare of London, Stanley & Venema’s biography of Shakespeare (perfect for young readers), or Bruce Coville’s elegant retellings of various plays, each of these works brings a different facet of Shakespeare’s world to the printed page. 

So too does Mary Pope Osbourne’s Stage Fright on a Summer Night, one of the stories in her beloved Magic Treehouse series. In this adventure, young protagonists Jack and Annie take a trip back to Elizabethan England and meet a friendly man named Will. He just happens to be putting on a play that he wrote – A Midsummer Night’s Dream! Featuring historical facts and personal triumphs for Jack and Annie, this tale draws children into the vibrant landscape of Shakespeare’s London.  

Even more importantly, it also reminds readers of all ages never to take for granted the way theatre awakens the imagination. Indeed, the heart of the story is Jack and Annie’s realisation that “without wand, spell, or charm,” Shakespeare can transport his audience to another time and place; the magic they seek is, in fact, his ability to “turn daytime into night” through his very words. This is a gift that you can hear in real time through the above recording of a monologue from Merchant of Venice – demonstrating once again the power of Shakespeare’s art.

©2022

By definition, the Fourth of July holiday evokes reflections on patriotism. And though this is admittedly the date that we celebrate America’s independence from colonial rule, we at Shakespeare For Our Children could not help but think of Shakespeare’s expressions of love for his own country. 

In a famous speech from Richard II, one of Shakespeare’s history plays, the character John of Gaunt describes England as:

“This royal throne of kings, this scepter’d isle | […] This precious stone set in the silver sea | […] This land of such dear souls, this dear dear land.” (Listen above!)

In the context of the play (Act 2, Scene 1), John is on his deathbed and pondering the fate of his beloved country; taken independently, however, the monologue magnificently articulates one patriot’s devotion to their native land. As Marchette Chute writes in her classic work An Introduction to Shakespeare, “Shakespeare loved England, and this is one of the reasons why England has always so deeply loved Shakespeare.”

It may seem a bit unexpected to examine this moving speech about England at a time when we commemorate our independence from that country! But Shakespeare’s words nonetheless invite each of us to consider the beauty and complexity of our own national identity.

— Janice Salzberg ©2022

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