Reading The First Folio

Title

First
Broadcast

Comments

Michelle Terry On As You Like It

20230418

400 years after the publication of William Shakespeare's First Folio, five writers are each asked to pick a speech from one of the Folio's plays, tell it what they think it means, and what it means to them. In the second essay of this series, Michelle Terry, actor and artistic director at Shakespeare's Globe, chooses a speech by Rosalind - a character she played.

Rosalind appears in As You Like It - a play which was first printed in the 1623 Folio. In the scene Michelle selects, Rosalind is disguised as Ganymede and is speaking to her estranged love Orlando in the Forest of Arden. She tests his love for her by posing as a love doctor and offering to cure him of his love.

Michelle tells us how she first found the part a challenge but when she delved into the text and into the Folio, she found subtle clues which revealed an 'intelligent and now liberated woman tumbling her way through long sentences.' She reveals how when she played Rosalind, she learned to trust Shakespeare and to trust the words on the page.

Produced by Camellia Sinclair for BBC Audio in Bristol

Mixed by Suzy Robins

Actor Michelle Terry chooses a speech by 'love doctor' Rosalind from Act 3, Scene 2.

Professor Dame Marina Warner On Othello

20230421

400 years after the publication of William Shakespeare's First Folio, five writers are each asked to pick a speech from one of the Folio's plays, tell it what they think it means, and what it means to them. In the last essay of this series, award-winning writer and historian Professor Dame Marina Warner chooses a speech from Othello - from Act 1, Scene 3 of the play. She tells us why it raises questions about stories and history as well as ideas about heroism, prejudice and fantasy.

As a writer who has often grappled with the truthfulness of stories, myths and fairy tales, Marina reveals she selected the speech because in the passage, Shakespeare is reflecting on the ways imagination makes things real. At this point in the play, Othello is setting out to clear himself after Brabantio, the father of his new wife, Desdemona, has railed against the 'practices of cunning hell' which Othello must have used to make her fall in love with him. Marina reflects on the reciprocal projections exchanged between tellers of tales and their audiences and considers how suggestible Othello and Desdemona are.

Produced by Camellia Sinclair for BBC Audio in Bristol

Mixed by Suzy Robins

Author and historian Marina Warner chooses a speech from early in Othello: Act 1, Scene 3.

Professor Islam Issa On Julius Caesar

20230419

400 years after the publication of William Shakespeare's First Folio, five writers are each asked to pick a speech from one of the Folio's plays, tell it what they think it means, and what it means to them. This time, the author, curator and broadcaster Professor Islam Issa chooses a speech from Act 2, Scene 2 of Julius Caesar. It's a speech which he says is full of masterful language, can leave us with surprising take-homes about everyday life, and has a fascinating performance history.

In an essay which takes us from the Roman Empire to Robben Island prison, Islam shows us how much a short speech from early in the play can teach us about humanity and every day life. Drawing on reflections and quotes from Islamic scholar and mystic Jalal al-Din R?mi and the father of the Japanese chanoyu (the tea ceremony) Sen no Rikyu, Islam reveals how a passage from a play which is over 400 years old might say something about mindfulness in the present moment.

Produced by Camellia Sinclair for BBC Audio in Bristol

Mixed by Suzy Robins

Professor Islam Issa chooses a passage spoken by Julius Caesar in Act 2, Scene 2.

Sir David Hare On Macbeth

20230420

400 years after the publication of William Shakespeare's First Folio, five writers are each asked to pick a speech from one of the Folio's plays, tell it what they think it means, and what it means to them. This time, award-winning playwright, screenwriter and director David Hare chooses a speech by Macbeth in Act 5, Scene 3 of the play.

David tells us how Shakespeare perfected his gift for the lone monologue to help reveal what is going on inside a character's head. In Act 5, Scene 3 of Macbeth, the lead character waits for news of an English army which has been assembled in an attempt to destroy him. As he waits, he gives a speech in which he thinks about what life will be like if he makes it to old age. It's a speech which moves David. He ponders what makes the play so hard to perform, in an essay which takes us from Quentin Tarantino to Philip Larkin.

Produced by Camellia Sinclair for BBC Audio in Bristol

Mixed by Suzy Robins

Playwright David Hare chooses Macbeth's imagining of old age from Act 5, Scene 3.

Sir Richard Eyre On King Lear

20230417

400 years after the publication of William Shakespeare's First Folio, five writers are each asked to pick a speech from one of the Folio's plays, tell it what they think it means, and what it means to them. In the first essay of this series, award-winning theatre and film director Sir Richard Eyre chooses a speech from his favourite Shakespeare play: King Lear.

Richard's choice is a speech by Lear from Act 5, Scene 3 of the play. At this point, Lear and his daughter Cordelia are reunited but are about to be dragged off to prison. Richard reveals why he finds Lear's words so moving - after sound and fury, there's quiet: 'birds in a cage' and 'gilded butterflies.' Richard tells us when he first encountered Shakespeare and about when he first felt ready to direct King Lear. He explores how directors have to pick and choose between the Folio version and the Quarto text of the play. He reflects on the power of Lear and Cordelia's relationship and how it evolves through the play.

Produced by Camellia Sinclair for BBC Audio in Bristol

Mixed by Suzy Robins

Director Richard Eyre chooses a speech by Lear to his daughter Cordelia - Act 5, Scene 3.

Episodes

Title	First Broadcast	Comments
Michelle Terry On As You Like It	20230418	400 years after the publication of William Shakespeare's First Folio, five writers are each asked to pick a speech from one of the Folio's plays, tell it what they think it means, and what it means to them. In the second essay of this series, Michelle Terry, actor and artistic director at Shakespeare's Globe, chooses a speech by Rosalind - a character she played. Rosalind appears in As You Like It - a play which was first printed in the 1623 Folio. In the scene Michelle selects, Rosalind is disguised as Ganymede and is speaking to her estranged love Orlando in the Forest of Arden. She tests his love for her by posing as a love doctor and offering to cure him of his love. Michelle tells us how she first found the part a challenge but when she delved into the text and into the Folio, she found subtle clues which revealed an 'intelligent and now liberated woman tumbling her way through long sentences.' She reveals how when she played Rosalind, she learned to trust Shakespeare and to trust the words on the page. Produced by Camellia Sinclair for BBC Audio in Bristol Mixed by Suzy Robins Actor Michelle Terry chooses a speech by 'love doctor' Rosalind from Act 3, Scene 2.
Professor Dame Marina Warner On Othello	20230421	400 years after the publication of William Shakespeare's First Folio, five writers are each asked to pick a speech from one of the Folio's plays, tell it what they think it means, and what it means to them. In the last essay of this series, award-winning writer and historian Professor Dame Marina Warner chooses a speech from Othello - from Act 1, Scene 3 of the play. She tells us why it raises questions about stories and history as well as ideas about heroism, prejudice and fantasy. As a writer who has often grappled with the truthfulness of stories, myths and fairy tales, Marina reveals she selected the speech because in the passage, Shakespeare is reflecting on the ways imagination makes things real. At this point in the play, Othello is setting out to clear himself after Brabantio, the father of his new wife, Desdemona, has railed against the 'practices of cunning hell' which Othello must have used to make her fall in love with him. Marina reflects on the reciprocal projections exchanged between tellers of tales and their audiences and considers how suggestible Othello and Desdemona are. Produced by Camellia Sinclair for BBC Audio in Bristol Mixed by Suzy Robins Author and historian Marina Warner chooses a speech from early in Othello: Act 1, Scene 3.
Professor Islam Issa On Julius Caesar	20230419	400 years after the publication of William Shakespeare's First Folio, five writers are each asked to pick a speech from one of the Folio's plays, tell it what they think it means, and what it means to them. This time, the author, curator and broadcaster Professor Islam Issa chooses a speech from Act 2, Scene 2 of Julius Caesar. It's a speech which he says is full of masterful language, can leave us with surprising take-homes about everyday life, and has a fascinating performance history. In an essay which takes us from the Roman Empire to Robben Island prison, Islam shows us how much a short speech from early in the play can teach us about humanity and every day life. Drawing on reflections and quotes from Islamic scholar and mystic Jalal al-Din R?mi and the father of the Japanese chanoyu (the tea ceremony) Sen no Rikyu, Islam reveals how a passage from a play which is over 400 years old might say something about mindfulness in the present moment. Produced by Camellia Sinclair for BBC Audio in Bristol Mixed by Suzy Robins Professor Islam Issa chooses a passage spoken by Julius Caesar in Act 2, Scene 2.
Sir David Hare On Macbeth	20230420	400 years after the publication of William Shakespeare's First Folio, five writers are each asked to pick a speech from one of the Folio's plays, tell it what they think it means, and what it means to them. This time, award-winning playwright, screenwriter and director David Hare chooses a speech by Macbeth in Act 5, Scene 3 of the play. David tells us how Shakespeare perfected his gift for the lone monologue to help reveal what is going on inside a character's head. In Act 5, Scene 3 of Macbeth, the lead character waits for news of an English army which has been assembled in an attempt to destroy him. As he waits, he gives a speech in which he thinks about what life will be like if he makes it to old age. It's a speech which moves David. He ponders what makes the play so hard to perform, in an essay which takes us from Quentin Tarantino to Philip Larkin. Produced by Camellia Sinclair for BBC Audio in Bristol Mixed by Suzy Robins Playwright David Hare chooses Macbeth's imagining of old age from Act 5, Scene 3.
Sir Richard Eyre On King Lear	20230417	400 years after the publication of William Shakespeare's First Folio, five writers are each asked to pick a speech from one of the Folio's plays, tell it what they think it means, and what it means to them. In the first essay of this series, award-winning theatre and film director Sir Richard Eyre chooses a speech from his favourite Shakespeare play: King Lear. Richard's choice is a speech by Lear from Act 5, Scene 3 of the play. At this point, Lear and his daughter Cordelia are reunited but are about to be dragged off to prison. Richard reveals why he finds Lear's words so moving - after sound and fury, there's quiet: 'birds in a cage' and 'gilded butterflies.' Richard tells us when he first encountered Shakespeare and about when he first felt ready to direct King Lear. He explores how directors have to pick and choose between the Folio version and the Quarto text of the play. He reflects on the power of Lear and Cordelia's relationship and how it evolves through the play. Produced by Camellia Sinclair for BBC Audio in Bristol Mixed by Suzy Robins Director Richard Eyre chooses a speech by Lear to his daughter Cordelia - Act 5, Scene 3.