{"id":9923,"date":"2019-04-18T17:35:17","date_gmt":"2019-04-18T17:35:17","guid":{"rendered":"https:\/\/laughfrodisiac.com\/?p=9923"},"modified":"2019-05-09T15:38:34","modified_gmt":"2019-05-09T15:38:34","slug":"emilia-a-powerful-relevant-take-on-history-and-today","status":"publish","type":"post","link":"https:\/\/laughfrodisiac.com\/2019\/04\/18\/emilia-a-powerful-relevant-take-on-history-and-today\/","title":{"rendered":"Emilia: A Powerful, Relevant Take on History and Today"},"content":{"rendered":"\n<p><em>It\u2019s Theatre Thursday!\nToday\u2019s show is Emilia, at <\/em><em>London<\/em><em>\u2019s\nVaudeville Theatre. <\/em><\/p>\n\n\n\n<p>Who was the \u2018dark lady\u2019 that Shakespeare wrote sonnets\nabout? Was she some strumpet, some rampallian? Bite your tongue, peasant! The\nnew play Emilia follows the suggestion of editor A.L. Rowse that this\nmysterious figure in Billy Shakes\u2019 sonnets was actually Emilia Bassano, one of\nthe first female poets in England\nto have her works printed. And I\u2019m all for this. Although unlikely, it\u2019s fun to\nimagine that these two contemporary poets not only knew each other, but once\nupon a time loved each other, and that maybe Billy owes some of his most famous\nwords to her. Maybe she was so talented that Shakey stole some of her words and\nmade them famous, without attribution, without permission, without even\nthanking her. That\u2019s the route of the new play Emilia, newly transferred to the\nWest End from the Globe, in imagining this mysterious\nfigure as one who, in a more reasonable time, could have been the famous\nplaywright everyone knows. <\/p>\n\n\n\n<p>We meet Emilia first as an older woman reading what has been\nwritten about her and scoffing at it. She\u2019s finally reclaiming her story and\ntelling us the truth \u2013 at least some of the truth; what we know about her real\nlife is interspersed with the imagined interactions with Shakespeare, with some\n\u2018mostly likely\u2019 scenarios, such as who her patronesses were, mixed in too. To\ntell the story, three actresses portray Emilia at different stages in her life:\nfirst, a captivating Saffron Coomber as the vibrant young lady with all the\nworld\u2019s gumption; second, an affecting Adelle Leonce as the wiser and still\nstrong woman she became; and third, back to Clare Perkins as the powerful older\nincarnation of the lady that wouldn\u2019t stop fighting for her voice to be heard. <\/p>\n\n\n\n<p>Throughout all the efforts to keep her in the \u2018proper\u2019 path\n\u2013 including sending her away to be raised in the court \u2013 Emilia wrote and lived\non her own terms as much as possible in a society that didn\u2019t let women do\nanything on their own terms. By presenting virtually her entire life and every\nmove she made to stay true to herself and her writing, the play becomes an epic\nin female empowerment. It\u2019s sometimes too focused on being seen as such, but\noverall it achieves the goal. With these sorts of messages, it\u2019s easy, and\ncommon, for the creatives to hit audiences over the head with their morality\nlessons (and point to the modern day relevance in a too obvious \u2018see what I did\nthere!\u2019 kind of way) when letting the work stand on its own feet would\naccomplish a more powerful result, yet despite falling into this common trap a\nfew times, it doesn\u2019t take away from the truly powerful result.<\/p>\n\n\n\n<p>As a young lady, Emilia became the mistress of Baron Henry\nCarey, an arrangement that let her focus on her writing while meeting the most\ninfluential patrons of the arts. It\u2019s in this detail that the play sees her\nmeet fellow poet William Shakespeare, a peer who at first seems like the only\none who gets her but who, like all men, disappoints as he deems her writing\nsimply a hobby. The use of Shakespeare, and the portrayal, was brilliant. When\nthe two poets\u2019 relationship sours over his theft of her words, they come to a\nhead in the extraordinary, dynamic climax of the first act, with the cast\nspread all over the theatre shouting and clashing. Luckily for me, Shakespeare\nbarged into my box to do his shouting from there, and he hilariously said to me\n\u201cI\u2019m so sorry madam, you can have a free ticket for the next play\u201d. The scene\nwas incredibly staged and directed, with everything chaotic but organized\nperfectly. I wish the direction remained more like that throughout, instead of\nsometimes getting lost in keeping aspects modern, such as music and dance.\nThose attempts (I think someone dapped) read as more of a joke than a way to\nmake any sort of commentary. <\/p>\n\n\n\n<p>The dark turn of the second act\nmakes complete sense and is necessary, but it almost feels surprising, which it\nshouldn\u2019t considering how truthful it is. Perhaps it\u2019s because all the\ngirl-power messages are finally starkly shown to not mean much when you\u2019re in a\nsociety that isn\u2019t listening. Perhaps it\u2019s partly because of the modern aspects\nused as jokes and the girl-power applause breaks that don\u2019t work as well as the\nplay itself. More so at the end, the morality lessons threaten to get lost in\nheavy-handed presentation. When big statements are made about men and women\nthat still apply, they tend to elicit raucous applause, which is fine, if it\u2019s\nwarranted. Too often, there were dramatic statements that seemed present for\nthat very reason, instead of serving the story. There\u2019s a fine line between\nimportant and indulgent, and a few times it felt like the latter (especially\nwhen the audience erupted after one character asks a male character why he was\nexplaining stuff she already knew to her). Maybe it\u2019s just that audiences are\ntoo eager to be a part of things. But it all comes together at the end, with\nthe oldest Emilia giving a fourth-wall breaking speech that was one of the most\npowerful things I\u2019ve ever seen. It nearly erases any flaws of the preceding\nshow, and serves to reinforce that overall, this is a potent, impressive work.<\/p>\n\n\n\n<p>The cast of all women turns the Shakespearean tradition of\nmen playing women on its head while also happily reminding me of RBG saying\n\u201cwhen there are 9\u201d. In defense of the all-male casts that still proliferate\nwhile all-women casts are usually nowhere to be found (or only for shows with\nall-female characters), I\u2019ve heard people say \u201cwell it\u2019s funny when men play\nwomen! Women playing men is not funny at all.\u201d This show is like CHECK AND\nMATE, MUFUCKA. Shakespeare (Charity Wakefield (omg you\u2019re more British than\nShakespeare!)) was so incredibly pitch-perfect and hysterical, I was almost\nembarrassed at how much I was laughing. It was a hilarious character, like\nShakey from Something Rotten! but less mean in his humor. Amanda Wilkin as\nEmilia\u2019s goofball husband Alfonso was also nonstop hysterical with her\ngallivanting around the stage and ridiculous moments, especially when she\nplayed an era-appropriate song on the recorder in a baby\u2019s face. And what made\nme laugh harder than anything was when one of the older ladies of the ensemble,\nbriefly played a duke who was railing against women speaking or writing. The audience\nbooed and hissed, which made me super mad because audiences are ridiculous\nhere, but the actress completely made the show by shouting back, \u2018excuse me\nthis isn\u2019t PANTO SEASON.\u2019 It was THE BEST. And despite most of the ensemble\nswitching in and out of various roles, they reached such emotional depth with\nthe dramatic turns of the plot that you almost felt guilty for laughing in a\nprevious scene. Everyone is wonderful, and even though it\u2019s all women, the\ndiversity of the cast was stellar. A range of ethnicities, ages, abilities,\nbodies, with old ladies playing young, and even one deaf actress. This is how\n99% of casts should be. And if all new plays were as strong as this one, I\nwould be thrilled. <\/p>\n\n\n\n<p><strong>INFORMATION<\/strong><\/p>\n\n\n\n<p>Emilia is playing the Vaudeville\nTheatre until June 15. It runs 2 hours 30 minutes.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>It\u2019s Theatre Thursday! Today\u2019s show is Emilia, at London\u2019s Vaudeville Theatre. Who was the \u2018dark lady\u2019 that Shakespeare wrote sonnets about? Was she some strumpet, some [&hellip;]<\/p>\n","protected":false},"author":1,"featured_media":9924,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[147],"tags":[],"class_list":["post-9923","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-entertainment"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v22.7 - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>Emilia: A Powerful, Relevant Take on History and Today - Laughfrodisiac<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/laughfrodisiac.com\/2019\/04\/18\/emilia-a-powerful-relevant-take-on-history-and-today\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Emilia: A Powerful, Relevant Take on History and Today - Laughfrodisiac\" \/>\n<meta property=\"og:description\" content=\"It\u2019s Theatre Thursday! 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