Part of our approach to teaching Shakespeare has always been to think about his words as spoken music. This concept helps young actors consider how to give each word its value as they become accustomed to the rhythm of the dialogue. What also deserves attention is Shakespeare’s incorporation of actual music in his plays. From tragedies to comedies, Shakespeare would include songs both to heighten the action and provide a further level of entertainment to his audience. We can see and hear this in works as varied as “Oh Mistress Mine” from Twelfth Night (Act 2, Scene 3) and the songs that signal Ophelia’s descent into madness in Hamlet.
In whatever context, songs and music provide an excellent way to engage students in a production. This is especially true of those children who might not feel confident enough to take on a full role but would enjoy singing as part of a chorus (as in, for instance, the Fairy Lullaby in A Midsummer Night’s Dream). The use of music in the plays also provides opportunities for working with those in other performing arts – think about music teachers with whom you could collaborate, and whose students might want to form a small musical “troupe” to accompany the actors.
And never forget to include music as an inspirational background to rehearsals! Mendelssohn’s scoring of A Midsummer Night’s Dream, or Prokofiev’s music for the Romeo and Juliet ballet, are easily accessible and provide the finest scene-setting soundtrack. The most important thing is that students understand Shakespeare’s works as vibrant and multi-faceted – and music is key in helping young actors bring those works to life.