Loves Labours lost

Shakespeare at the Toronto Fringe!

The Toronto Fringe Festival is fast approaching! Among the 150 shows to be produced this year, there are 3 that are Shakespeare related.

bard-fiction

Montreal company Beyond the Mountain brings us Bard Fiction, an Elizabethan retelling of the cult classic, Pulp Fiction. Following the success in Minneapolis and Chicago, this show makes it’s Canadian premiere at the Toronto Fringe! This show is suitable for audiences aged 12 and up. Visit http://www.beyondthemountain.ca/ for more information about Beyond the Mountain and Bard Fiction.

julius-caesar-project

Spur-of-the-Moment Shakespeare Collective presents the Julius Ceasar Project. Taking inspiration from the series Orange is the New Black, SOTMSC retells this classic tale in a women’s prison. After fringe, they will perform the show, in association with the Adelaide Resource Center for Women, to provide creative programming for women’s shelters in Toronto. This show is suitable for audiences aged 10 and up. Visit http://spurofthemomentshakespeare.weebly.com/ for more information about Spur-of-the-Moment.

shakespeare-bash'd

Best of Fringe winning company, Shakespeare BASH’d presents Love’s Labour’s Lost. Director James Wallis transforms the Victory Cafe into a fraternity house for his interpretation of this zany masterpiece of wit. This show is suitable for audiences aged 19 and up. For more information, visit http://www.shakespearebashd.com/.

The Toronto Fringe Festival runs from July 2 – July 13th, with showtimes throughout the day. For more information about purchasing tickets for these shows, and all things Fringe Festival, visit fringetoronto.com.

What if Shakespeare was… on American Idol!

american_idol-show1

What if Shakespeare was on American Idol singing a heartbreaking love song for a place in the final?

If music be the food of love, play on, (play on, play on)

Give me excess of it (excess of it) [1]

For stony limits cannot hold love out, (cannot hold)

And what love can do, that dares love attempt [2]

The course of true love never did run smooth [3]

 

O my love! Here’s to my love (Oooooh my love! Here’s to my love) [4]

If thou canst / love me… I say to thee / that I shall die [5]

Take all my loves, my love, yea take them all (yea take them all, all, all) [6]

But love, for love, thus shall excuse my jade [7]

A lover’s eyes will gaze an eagle blind, / A lover’s ear will hear the lowest sound [8]

 

I love thee, I will not say pity me…

But I say, love me (But I say, looooovvve me) [9]

Canst thou love me? (Canst thou love me?) [10]

Most radiant, exquisite, and unmatchable beauty [11]

I love thee more and more: think more and more (think more and more) [12]

 

I have not art to reckon my groans;

But that I love thee best, O most best believe [13]

If thou dost love me [14] O joyful day! (joyful, joyful day) [15]

To say thou dost not [16] O, break my heart! (break, break, break)

Poor bankrupt, break at once! [17]

 

But I say, love me… [18]

 

In this city will I stay / And live alone and [19]

Write sorrow on the bosom of the earth [20]

Ay me!… and twenty times! Woe, woe / And twenty echoes twenty times cry so [21]

 

But I say, love me… [22]

For now my love… I know thou canst [23]

 

By Linda Nicoll

 

References:

1          Twelfth Night I. i. 2-3

2          Romeo & Juliet II. ii. 916-17

3          A Midsummer Night’s Dream I. i. 140

4          Romeo & Juliet V. iii. 3037 & 65

5          Henry V V. ii. 3132-35

6          Sonnet 40, 1

7          Sonnet 51, 12

8          Love’s Labour’s Lost IV, iii. 1679-80

9          Merry Wives of Windsor II. i. 580-81

10        Henry V V. ii. 3176

11        Twelfth Night I. v. 464

12        Cymbeline V. v. 3498

13        Hamlet II. ii. 1216-18

14        Romeo & Juliet I. v. 943

15        Henry IV P II V. iii. 3539

16        All’s Well That Ends Well I. iii. 497

17        Romeo & Juliet III. ii. 1779

18        Merry Wives of Windsor II. i. 581

19        Henry VI P II IV, iv. 2570-71

20        Richard II III. ii. 1557

21        Venus and Adonis 855-6

22        Merry Wives of Windsor II. i. 581

23        Comedy of Errors II. ii 514 & 28

What If Shakespeare…were a DENTIST?

Tooth Clip Art Welcome, young man (1). What! sigh for the toothache? Where is but a humour or a worm (2). Come, come, and sit you down (3). For there was never yet philosopher that could endure the toothache patiently (4).

Open your mouth (5). O horror, horror, horror (6)! Thou odouriferous stench! sound rottenness (7)! He lives upon mouldy stew’d prunes and dried cakes (8).

Give me that mattock and the wrenching iron (9).  [Strange and several noises of roaring, shrieking, howling, jingling chains, and more diversity of sounds, all horrible (10). Strange screams of death (11).] Be calm, be calm (12)!

The long day’s task is done (13); teeth as white as whale’s bone (14)! I will fetch you a tooth-picker now (15). Take leave until we meet again (16). Till then fair hope must hinder life’s decay (17).

1) As You Like It, V.iv, 256

2) Much Ado About Nothing, III.ii, 1223-4

3) Hamlet, III.iv, 2404)

4) Much Ado About Nothing, V.i, 2103-4

5) The Tempest, II.ii, 1171

6) Macbeth, II.iii, 835

7) King John, III.iv, 1410

8) Henry IV, Part II, II.iv, 1403

9) Romeo and Juliet, V.iii, 2959

10) The Tempest, V.i, 2296-98

11) Macbeth, II.iii, 825

12) Coriolanus, III.i, 1774

13) Antony and Cleopatra, IV.xiv, 3021

14) Love’s Labour’s Lost, V.ii, 2249-50

15) Much Ado About Nothing, II.i, 647

16) Henry VI, Part III, II.iii, 1070

17) Henry VI, Part III, IV.iv, 2258

Shakespeare re-arranged by Lisa

Image: http://www.clker.com/clipart-tooth.html

What if Shakespeare…were a MUSICIAN?

Sometimes a thousand twangling instruments /Will hum about mine ears. [1] I heard a bird so sing,/ Whose music, to my thinking, pleas’d the King. [2] Give me some music; music, moody food / Of us that trade in love. [3] Play, music, then! Nay, you must do it soon. [4]

Come, give me an instrument.[5] Aha! Come, some music! Come, the recorders! [6] The music, ho! [7] …for love’s sake, to make no more noise with it. [8]

What poor an instrument [9] That knows no touch to tune the harmony. [10] I did… but loath am to produce so bad an instrument. [11] There is much music, excellent voice, in this little organ, yet cannot you make it speak. [12]

What, to make thee an instrument, and play false strains upon thee! [13] The gods are just, and of our pleasant vices Make instruments to scourge us. [14] No medicine in the world can do thee good. [15] Hence, vile instrument! Thou shalt not damn my hand. [16] May these same instruments never sound more! [17]

Shakespeare re-arranged by Zhan Zhang.

References:

1) Tempest [III. 2. 1535]

2) Henry IV, Part II [V. 5. 3706-3708]

3) Antony and Cleopatra [II. 5. 1049]

4) Love’s Labour’s Lost [V. 2. 2103]

5) Troilus and Cressida [III. 1. 1581]

6) Hamlet [III. 2. 2178]

7) Antony and Cleopatra [II. 5. 1051]

8) Othello [III. 1. 1559]

9) Antony and Cleopatra [V. 2. 3688]

10) Richard II [I. 3. 462]

11) All’s Well That Ends Well [V. 3. 2906]

12) Hamlet [III. 2. 2246-2247]

13) As You Like It [IV. 3. 2069]

14) King Lear [V. 3. 3327]

15) Hamlet [V. 2. 3971]

16) Cymbeline [III. 4. 1797]

17) Coriolanus [I. 9. 814]

What if Shakespeare…were a SPORTS COMMENTATOR?

 

Image

A happy evening [1] and ye’re welcome all [2]. We first address toward you [3] that stay’d at home [4], and they that watch [5] from yonder [6] elsewhere / from me far off [7], a hundred thousand welcomes [8]. This great sport [9] is now the two hours’ traffic of our stage [10]. And mark thee [11] well worth watching [12].

And all that are assembled in this place [13] that wait [14] with bated breath [15], lend me your ears [16]. Hark! hark! what shout is that [17] among the crowd? [18] And, hark! they shout for joy [19]. Thus we are agreed [20] what sport tonight [21] you shall see [22].

Be the players ready? [23] Ajax is ready [24] And look you [25] Percy is already in the field [26]. With roaring voices [27] the shouting plebeians [28] bid the players make haste [29]. Hark, they roar! [30] loud shouts and salutations from their mouths [31]. Alas, what joy! [32] There are the players [33]. Aeneas is a-field [34.] At last, though long [35] now I see [36] Anthony is come into the field [37]. Then shall we have a match [38].

Ajax goes up and down the field [39]. On there, pass along! [40] He scores, he scores [41] This cheers my heart [42]. He knows the game [43] excellent well [44]. Hark, the game is roused! [45] Shouts and claps out-voice the deep mouth’d sea [46].

And then begin again and stop again [47]. The match [48] is tied [49]. Methought that Gloucester stumbled [50]. They stumble that run fast [51]. Let’s see the penalty, [52] who takes it? [53] The thrice-victorious Lord of Falconbridge [54]. No no, it cannot be! [55] he hath miss’d [56]. The people in the street cry [57] you base football player [58].

And then the people fell a-shouting [59]. But where’s the great Alcides of the field, / Valiant Lord Talbot, Earl of Shrewsbury [61]. He has been yonder [61] on the bench [62]. And in all this time [63] why he, of all the rest, hath never moved [64]. With open outcry [65] the crowd [66] call him forth [67], a most gallant fellow [68] to win this easy match [69]. Here he comes [70] once more unto the breach [71]. Hark! do you not hear the / people cry [72] roaring louder than / the sea or weather [73].

It grows very late [74], the sport is at the best [75] when none can call [76] – who loses and who wins; who’s in, who’s out [77]. My heart leaps [78] breathless and faint [79], I cannot bring / my tongue to such a pace [80]. But look thee here [81] brave Talbot [82] how he outruns the wind and with what care / he cranks and crosses with a thousand doubles [83.]

The game is up! [84] Victorious Talbot [85] now hath won the day [86]. Didst thou not hear their shouts? [87] The ways of glory [88] would scarce make that be believed [89]. Renowned Talbot [90] he hath done well in people’s eyes, / hearing applause and universal shout, / giddy in spirit, still gazing in a doubt / whether these pearls of praise be his or no [91].

The games are done [92] This had been cheerful after victory [93]. O my soul’s joy! [94] I saw not better sport these seven years’ day [95]. A thousand thanks and [96] fare thee well [97]. In celebration of this day [98] applause and loving shout [99] shall be heard [100] through the streets [101]. Why, then, good night indeed [102].

Shakespeare – re-arranged by Linda Nicoll

1.        Two Gentlemen of Verona [V. i. 2056]

2.       Coriolanus [II. i. 1113]

3.       King Lear [I. i. 204]

4.       Pericles [II. iv. 553]

5.       Rape of Lucrece [1626]

6.       Henry VI P I [III. ii. 1466]

7.       Sonnet 61 [13-14]

8.       Coriolanus [II, i. 1114]

9.       Henry VIII [I. i. 88]

10.     Romeo and Juliet [Prologue 1, 12]

11.     Henry IV P I [II. iv. 1196]

12.     Cymbeline [II. iv. 1257]

13.     The Comedy of Errors [V. i. 1841]

14.     Two Gentlemen of Verona [IV. ii. 1770]

15.     The Merchant of Venice [I. iii. 451]

16.     Julius Caesar [III. Ii. 1617]

17.     Troilus and Cressida [V. ix. 3619]

18.     Henry VIII [IV. i. 2481]

19.     Julius Caesar [V. iii. 2528]

20.     Anthony and Cleopatra II. vi. 1283

21.     Anthony and Cleopatra [I. ii. 57]

22.     All’s Well That Ends Well [III. Vi. 1824]

23.     Hamlet III. [I. i. 1986-87]

24.     Troilus and Cressida [III. iii. 1901]

25.     All’s Well That Ends Well [V. iii. 3032]

26.     Henry IV PI [IV. ii. 2443-44]

27.     King Lear [II. iii. 1265]

28.     Anthony and Cleopatra [IV. xii. 2942]

29.     Hamlet [III. ii. 1925]

30.     The Tempest [IV. i. 2008]

31.     Henry IV P I [III. ii. 1876]

32.     Henry VI P I [IV. iii. 2967]

33.     Hamlet [II. ii. 1452]

34.     Troilus and Cressida [V. iii. 3354]

35.     Taming of the Shrew [V. ii. 2489]

36.     All’s Well That Ends Well [I. iii. 492]

37.     Anthony and Cleopatra [IV. vi. 2713]

38.     All’s Well That Ends Well [V. iii. 2708]

39.     Troilus and Cressida [[III. iii. 2129]

40.     Anthony and Cleopatra [III. i. 1589]

41.     All’s Well That Ends Well [IV. iii. 2307]

42.     Henry VI P III [V. iv. 2870]

43.     Henry VI P III [III. ii. 1484]

44.     Hamlet [II. ii. 1279]

45.     Cymbeline [III. iii 1708]

46.     Henry V [V. Chorus, 2849]

47.     Richard III [III. v 2071]

48.     The Comedy of Errors [III. ii. 854]

49.     Sonnet 137 [8]

50.     Richard III [I. iv. 851]

51.     Romeo and Juliet [II. iii. 156]

52.     Love’s Labour’s Lost I. i. 126]

53.     Coriolanus [IV. vii. 3252]

54.     Henry VI P I [IV. vii. 2324]

55.     All’s Well That Ends Well [II. i. 601]

56.     Cymbeline [I. i. 20]

57.     Romeo and Juliet [V. iii. 3164]

58.     King Lear [I. iv. 615]

59.     Julius Caesar [I. ii. 315]

60.     Henry VI P I [IV. vii. 2317-18]

61.     Twelfth Night [II. v. 1043-44]

62.     Timon of Athens [IV. iii. 1702]

63.     As You Like It [IV. i.1877]

64.     Two Gentlemen of Verona [I. ii. 177]

65.     Romeo and Juliet [V. iii. 3166]

66.     Henry VIII [IV. i. 2481]

67.     Henry IV P I [V. ii. 1517]

68.     All’s Well That Ends Well [III. v. 1701]

69.     King John [III. I 1264]

70.     Coriolanus [II. iii. 1462]

71.     Henry V [III. i. 1092]

72.     Troilus and Cressida [I. ii. 372-73]

73.     The Winter’s Tale [III. iii 1596-97]

74.     Romeo and Juliet [III. iii. 2045]

75.     Romeo and Juliet [I. v. 748]

76.     Macbeth [V. i. 2162]

77.     King Lear [V. iii. 3138]

78.     Pericles [V. iii. 2573]

79.     Henry IV P I [I. iii. 357]

80.     Coriolanus [II. iii. 1476-77]

81.     The Winter’s Tale [III. iii. 1606]

82.     Henry VI P I [II. i. 694-95]

83.     Venus and Adonis [703-4]

84.     Cymbeline [III. iii 1708]

85.     Henry VI P I [II. iii. 900]

86.     Henry VI P III [IV. iv. 2257]

87.     Julius Caesar [V. iii. 2594]

88.     Henry VIII [III. ii. 2349]

89.     All’s Well That Ends Well [IV. i. 1959]

90.     Henry VI P I [IV. iii. 2039]

91.     The Merchant of Venice [III. ii. 1512-15]

92.     Julius Caesar [I. ii. 269]

93.     Henry IV P II [IV. ii. 2535]

94.     Othello [II. i. 975]

95.     Henry VI P II [II. i. 728]

96.     Henry V [IV. iv. 2429]

97.     All’s Well That Ends Well [II. i. 745]

98.     Henry VIII [IV. i. 2389]

99.     Richard III [III. vii. 2240]

100.   King John [I. i. 28]

101.   Anthony and Cleopatra [I. i. 64]

102.   Anthony and Cleopatra [III. x. 2099]

What if Shakespeare…were an INVESTMENT BANKER?

(On the brink of the current financial crisis) 

There is some ill a-brewing towards my rest, / For I did dream of money-bags to-night (1).  I greatly fear my money is not safe (2).  Say ‘tis not so (3).

I pray you sir! (4). I am not in a sportive humour now: / Tell me, and dally not, where is the money? (5). I beseech thee (6), answer me / In what safe place have you bestow’d my money? (7).

There is a written scroll! I’ll read the writing (8).  Mine eyes deceive me (9) It is not so; for how can this be true (10).  This paper has undone me: ‘tis the account / Of all that world of wealth I have drawn together (11).

‘Tis gone, ‘tis gone, ‘tis gone (12), melted into air, into thin air (13).

Alack the day! (14). Time is a very bankrupt, and owes more than he’s worth to season (15).

What hath been cannot be (16). You can fool no more money out of me (17). From this day forth (18) – Neither a borrower nor a lender be (19).

1          The Merchant of Venice [II. v. 865-66]

2          The Comedy of Errors [I. ii 270]

3          Anthony and Cleopatra [II. v. 1138]

4          All’s Well That Ends Well [II. ii. 863]

5          The Comedy of Errors [I.ii.58-59]

6          Anthony and Cleopatra [I. ii. 139]

7          The Comedy of Errors [I.ii.77-78]

8          The Merchant of Venice [II. vii. 1052]

9          The Comedy of Errors [V. i. 1773]

10        Love’s Labour’s Lost [V. ii. 2349]

11        Henry VIII [III. ii. 95-96]

12        Romeo and Juliet [I. v. 642]

13        The Tempest [IV. i. 81]

14        Romeo and Juliet [III. ii. 1760]

15        The Comedy of Errors [IV.ii.58]

16        All’s Well That Ends Well [I. i. 28]

17        Twelfth Night [IV. i. 2227]

18        Julius Caesar [IV. iii. 2030]

19        Hamlet [III. ii. 2091]

Shakespeare re-arranged by Linda Nicoll

What if Shakespeare…were a TEACHER?

What would Shakespeare’s classroom have been like? Your biggest disappointment might have been that most of this master of all English’s lessons would not have been in English at all. However much Shakespeare’s characters might beg to hear or speak “no Latin[, as] a strange tongue makes [a] cause more strange, suspicious” to the hearer (1), in Shakespeare’s Elizabethan reality the Church, State, and Universities judged your education and intellectual worth by your ability to read, write, and quote from Latin. Rome was, after all, the “most high and palmy state” (2) on which English society based its ideals of honor and virtue; English monarchs including the Tudors (and thus Elizabeth) traced their ancestors – by way of King Arthur – to Brutus, a direct descendant of Aeneas, “one of the flowers of Troy” (3), who founded Rome after that city’s fall.

Whatever the language, however, Shakespeare would have been able to teach most any subject – as the times demanded. Elizabethan schools had an intense curriculum, “the sweets of sweet philosophy” (4) at the time including studies of Scripture and religion, rhetoric, mathematics, music, composition, elocution, and the histories of Britain, Europe and the ancient world.  As if that wasn’t enough, school was taught six and a half days a week, with less than two months off each year, going from six or seven in the morning until right before dusk – no wonder that, in Shakespeare’s description of when “a school breaks up,” each student “hurries toward his home and sporting-place” (5) for the only free time he has in his day. I say ‘he’ because almost all such students were boys, of course – women were, at the time, preferably kept as a “poor unlearned virgin […] embowell’d of [schools’] doctrine” (6) or “an unlesson’d girl, unschool’d, unpractised” in the ways of the world but “not bred so dull but she can learn” (7) what she needs to entertain and please a husband.

To teach, Shakespeare would have had to constantly read and study, to become, “neglecting all worldly ends, all dedicated to closeness and the bettering of [his] mind” (8). To effectively guide his pupils, his learning and love of knowledge would have, together, to “beget a generation of still-breeding thoughts, and these same thoughts people this little world” within the schoolhouse (9). Shakespeare was well aware that a conscientious “schoolmaster made [students] more profit than other princesses can that have more time for vainer hours and tutors not so careful” (10). No wasting time for him, but activity and energy towards the learning that had elevated him from glovemaker’s son to renowned playwright – or, in this thought experiment, teacher. Shakespeare would hate when “poor fools believe false teachers” (11) and love to observe that a “gentleman is learn’d, and a most rare speaker[:] his training such, that he may furnish and instruct great teachers, and never seek for aid out of himself” (12). All Shakespeare’s plays reward self-reliance and the personal pursuit of excellence, and his students would have benefited from that attention.

Still, if the little people in his classroom misbehaved, they would have to watch out, as Shakespeare thought that “to teach a teacher ill beseemeth” (13). Problem students would have learned that they were dealing with no “rare parrot-teacher” (14) trying only to have them squawk out passages after him. William would never have been one to spare the rod, even if a pupil “had rather see the swords, and hear a drum, than look upon his school-master” (15). Shakespeare, in his plays, staunchly supported just punishment, and  thought that keeping discipline required one to “show great mercy […] after the
taste of much correction” (16).

Perhaps some foolhardy students would have tried to declare themselves “no breeching scholar in the schools,” that they’d “not be tied to hours nor ‘pointed times, but learn [their] lessons as [they] please [themselves]” (17). Shakespeare would merely reflect on the price paid in his day by he without education: “he hath never fed of the dainties that are bred in a book; he hath not eat paper, as it were; he hath not drunk ink: his intellect is not replenished; he is only an animal, only sensible in the duller parts” (18). He would raise his pupils as best he could towards “Study[, which] is like the heaven’s glorious
sun that will not be deep-searched with saucy looks” (19) and so improve their lot in life by giving them real goals to strive for without easy shortcuts.

This hard work would not, however, have made Shakespeare arrogant or proud; he would acknowledge that in the general estimation, teachers were “so poor a pinion off [power’s] wing” (20) as to be non-entities outside the classroom. Furthermore, despite his own encyclopedic knowledge, Shakespeare was never entirely comfortable with purely intellectual academics; you can sense that for him, they “jes[t] at scars that never felt a wound” (21). Never one to go against the will of the natural order, he would have acknowledged that “Nature teaches beasts to know their friends” (22) without any teacher’s help. He would have further realized that reading and writing without any practical purpose was “but an adjunct to oneself” (23), needing direction or motivation from some other part of one’s life that had more to do with the broader world outside – politics, say, or employment. Or perhaps even (as in many of his plays featuring young scholars) love.

Shakespeare would have acknowledged that education could in some cases even harm students by boring or overindulging them – any student could become “a blunt fellow”, even one that was “quick mettle when he went to school” (24) before being bored stiff by unsuitable lessons. Furthermore, in almost all of Shakespeare’s works, inherent, instinctive knowledge is both valuable and beyond teaching. His plays revolve around the idea that speech and consideration must, at times, give way to activity and daring, and that for “wilful men the injuries that they themselves procure must be their schoolmasters” (25) in facing life’s challenges. He believed that the youths of his time, in particular, often held “a heart unfortified, a mind impatient, an understanding simple and unschooled” (26) and a personality “never school’d and yet learned” (27). In Shakespeare’s view, these qualities – which existed before one had “corrupted the youth of the realm in erecting a grammar school” (28) – allowed the aggressive and, admittedly, often foolhardy juveniles to use their energy and impetuosity to overcome older adversaries’ advantages of age and experience and power. There would have been no fears that Shakespeare would refuse to countenance the beautiful world outside; his pupils would have needed to stay grounded, which he would have known, aware that the broader human context made up “the glass, the school, the book, where subjects’ eyes do learn, do read, do look” (29) for the answers no textbook can entirely provide.

Ultimately, Shakespeare the teacher might have summed up his project as does the benevolent Archbishop Cranmer in Shakespeare the playwright’s Henry VI, Part II:
My good lords, hitherto, in all the progress
Both of my life and office, I have labour’d,
And with no little study, that my teaching
And the strong course of my authority
Might go one way, and safely; and the end
Was ever, to do well. (30)

No teacher, in Shakespeare’s day or afterwards, through all the advances that bring us to appreciating his work from so far after his death, could reasonably ask for more.

Quotations:
(1) Queen Katherine, Henry VIII
(2) Horatio, Hamlet
(3) Pandarus, Troilus and Cressida
(4) Tranio, The Taming Of The Shrew
(5) Lord Hastings, Henry IV, Part II
(6) Countess, All’s Well That Ends Well
(7) Portia, The Merchant of Venice
(8) Prospero, The Tempest
(9) Richard II, Richard II
(10)  Prospero, The Tempest
(11)  Imogen, Cymbeline
(12)  Henry VIII, Henry VIII
(13)  Princess of France, Love’s Labour’s Lost
(14)  Benedick, Much Ado About Nothing
(15)  Volumnia, Coriolanus
(16)  Sir Thomas Grey, Henry V
(17)  Bianca, The Taming of the Shrew
(18)  Sir Nathaniel, Love’s Labour’s Lost
(19)  Biron, Love’s Labour’s Lost
(20)  Dolabella, Antony and Cleopatra
(21)  Romeo, Romeo and Juliet
(22)  Sicinius Velutus, Coriolanus
(23)  Biron, Love’s Labour’s Lost
(24)  Brutus, Julius Caesar
(25)  Regan, King Lear
(26)  Claudius, Hamlet
(27)  Oliver, As You Like It
(28)  Dick Cade, Henry VI, Part I
(29)  Shakespeare, The Rape of Lucrece
(30)  Archbishop Cranmer, Henry VI, Part II