In an unprecedented second episode on a play, Sheldrake examines the linguistic DNA of Hamlet and finds three rhetorical techniques that perform what Shakespeare is also doing with the big ideas in this play: Hendiadys, Metonymy and Synecdoche.

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In an episode dedicated to a great Shakespearean, Mr John Branston, Sheldrake drifts slightly from the one-play-one-idea tagline to focus on one character in this play: Queen Margaret. After her long march through the Henry VI plays, how does she wrest some control of the audience’s perspective from Richard and, in the end, does it make any difference?

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Few people in the world will have spent as many hours working on the delivery and performance of Shakespeare as Robert Price. After a career as an actor, he was the Senior Voice Tutor at RADA 2007-15 and a voice tutor at LAMDA for many years. He therefore has huge experience with and a rare perspective on how to ‘speak the speech’. A few weeks ago I managed to convince him that what he really wanted to be doing with a chunk of his busy schedule was talking to me about Shakespeare and the voice. I hope you enjoy listening to our conversation.

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In the first of two episodes on this mightiest of plays, Sheldrake compares the plot of Shakespeare’s Hamlet with its sources, uncovering a tremendous amount of ‘literary upcycling’ but also a profound and imaginative tribute to the power of theatre at the play’s core.

First preview of Sheldrake on Shakespeare: Live! THIS FRIDAY 2nd June, 7pm at the Etcetera Theatre, Camden.

Oxford preview on Thursday 8th June, 7.30pm at the Old Fire Station, Oxford.

All previews and the Edinburgh run listed here: https://sheldrakeonshakespeare.com/

Listen again to my interview on BBC Radio Oxford here at 1:10:00: https://www.bbc.co.uk/sounds/play/p0fl3f14

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In his return to the airwaves, Sheldrake considers the extraordinary popularity of A Midsummer Night’s Dream and concludes that it is the dark matter in the middle of this festive comedy sandwich that makes the play such a satisfying experience overall.

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Sheldrake on Shakespeare Live! London previews:

Etcetera Theatre 2nd June

Rosemary Branch Theatre 14th July

Barons Court Theatre 23rd July

Link to FringeMakers crowdfunder

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Further reading for this episode:

Anatomy of Criticism, Northrop Frye, 1957

Shakespeare’s Festive Comedy, CL Barber, 1959

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Henry V: one of the most patriotic characters and plays in all of literature, surely? Not so, says Sheldrake. Henry V and his world are thoroughly morally ambiguous.

Also available on iTunes: http://tinyurl.com/ndhzfxm

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How did people learn to act in the Renaissance? Did the texts themselves co-operate in teaching newish actors how to do certain things? Sheldrake thinks so.

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What to say about Henry IV Part 1? In the first of three main episodes, each of which will tackle one play in this Henriad, Sheldrake explores a play about history and personality, focussing on Prince Henry and his rival for glory Harry Hotspur.

Also available on iTunes: http://tinyurl.com/ndhzfxm

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He claims no monopoly on wisdom in this area, but as an academic year draws to a close and the long vacation heaves into view, Sheldrake reflects on his experiences of teaching Shakespeare.

Also available on iTunes: http://tinyurl.com/ndhzfxm

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We associate Shakespeare with humanity, warmth, generosity and kindness when he writes about people who have made a wrong decision. Even Richard III at the beginning of his play tells us what a dreadful life he’s had until now. Troilus and Cressida is different. Shakespeare is merciless with his characters and shows the Trojan War as a perverse catastrophe for everyone unlucky enough to be caught up in it. From the scheming warriors at the top to those suffering at the bottom, Shakespeare shows us two civilisations, Greece and Troy, buckling under their own weight.

Also available on iTunes: http://tinyurl.com/ndhzfxm

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Thanks to a couple of nearby anniversaries, we are hearing more than ever not only what great theatre Shakespeare is, but also what a positive influence he is. By and large, this is true. But the commemorative coin has another side, which is Shakespeare’s repeated mobilisation by fascists, racists and regimes we despise. Firstly, this is a story worth telling. Secondly, what does it mean for the plays today? Ahead of a talk on the subject in Oxford on 11th May, Sheldrake thinks aloud.

Also available on iTunes: http://tinyurl.com/ndhzfxm