Adaptor 1 Osborne, Hubert
Adaptor 2 Eyre, Laurence
Date of First Production
1911?
Title The Shakespeare Play: A Drama in Rhythmic Prose
Cast/Performers
Caesario:
3 Gypsies:
A Rogue:
Will Shakespeare:
Anne Hathaway:
A Dark Lady:
Mistress Brentford:
Master Francis Bacon:
A Wench:
A Schoolmaster:
A Sheriff:
Note that the play's listing of its dramatis personae is incomplete.
Publishing and Multimedia
*Osborne, Hubert Benjamin, and Laurence Eyre. The Shakespeare Play: A Drama in Rythmic Prose. Microfilm. Washington: Library of Congress, 1982.
 
*Osborne, Hubert Benjamin, and Laurence Eyre. The Shakespeare Play: A Drama in Rythmic Prose. Microfilm. Washington: Library of Congress, 1982.
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Adaptor 1 Biography
"Osborne, Hubert; author and stage director (retired); b. Kinston, Ont., 26 June 1881; d. October 25, 1958; s. George Parnell and Edna Cornelia (Folger) O.; e. Roy Mil. Coll. of Can. (one yr.); Queen's Univ. (two yrs.); Harvard Univ. (two yrs.); Head, the Goodman Memorial Theatre of the Art Inst. of Chicago; Asst. Dir., Yale Univ. Theatre; Co-Dir., The Ogunquit Playhouse, Ongunquit Maine; Stage Dir. for Mrs. Fiske, 1915-16; Stage Mgr., The Neighborhood Playhouse, N.Y. City, 1916-17; holder of the Macdowell Resident Fellowship, Harvard Univ., 1917-19; Prof. of Drama, Carnegie Inst. of Tech., having begun as Asst. Prof., 1919-1925; Asst. Prof. of Drama Yale Univ., 1925-28; author of (motion picture stories) Shore Leave, produced by First Nat.,-Warner Bros. 1923; Don't Call It Love, produced by Paramount 1924; Hit the Deck, produced by RKO 1927; Follow the Fleet, produced by RKO 1936; Strange Experiment, produced by Fox-British Pictures 1937; (plays) April produced by Charles Hopkins 1918; The Good Men Do, produced at Fulton Theatre N.Y. City, 1918; The Puppet Master, produced by the Selwyns 1921; Shore Leave, produced by David Belasco 1922; Hit the Deck, produced at the Belasco Theatre 1927; Eve's Complaint, produced at The Theatre Albert Premier, Paris, France, 1928, the first Am. play in the hist. of French stage to have a Paris premiére; (published plays) The Good Men Do, 1918; The Song of Solomon, 1927; Shore Leave, 1933; Mary's Lamb, 1939; developed the first synthetic stage lighting system used in Am. for Sir Philip (Ben) Greet for use in his Shakespearean productions; mem., The Authors League of Am.; The Dramatists Guild (U.S.); Anglican: recreations: travel, boating, motoring; Clubs: The Cliff Dwellers (Chicago); The Tavern (Chicago); Address: 15 Sydenham St., Kinston, Ont." (qtd. from The Canadian who's who: 775).

Osborne's carreer in theatre included his role as director of The Witch in 1926, and author of The Blue Bandanna, Rita Coventry, Shore Leave, The Good Men Do and April. He also performed in Gertrude Kingston and a Visiting Company (1916), Everywoman (1911), The Goddess of Reason (1909) and A Midsummer Night's Dream (1906).

Hubert Osborne died October 25, 1958.

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Adaptor 1 Bibliography
*"Hubert Osborne." 2001. Internet Broadway Database. 30 Jan. 2004.
http://www.ibdb.com/person.asp?ID=6388.
*"Osborne, Hubert." The Canadian Who's Who. Vol. 5. Toronto: U of Toronto P, 1949-1951.
  http://www.ibdb.com/person.asp?ID=6388
Synopsis
The Shakespeare Play is a five-act play on the life and times of Shakespeare, spanning from its opening scenes in Stratford-on-Avon through to Shakespeare’s move to London, his work at the Globe Theatre, at the court of Queen Elizabeth I, his lodgings at Southwark and his death in Stratford. Characters in the play include Caesario, various gypsies, Anne Hathaway, a Dark Lady, various writers and actors from the Elizabethan period (including Burbage, Marlowe, Hemminge, and Greene) and Francis Bacon. As such, The Shakespeare Play fits into a specific genre of adaptation in which rather than adapting a specific Shakespeare play, the adaptor undertakes to reconstruct, imaginatively, some aspect of Shakespeare’s life. Osborne and Eyre freely make use of historical information about Shakespeare while also creating an elaborately imagined love affair with the Dark Lady, a plot motif that sustains the play. They also make use periodically of well-known lines from Shakespeare’s plays, including the Epilogue spoken by Puck at the close of A Midsummer Night’s Dream at the start of Act 4, Scene 1 in which Queen Elizabeth’s sense of the play as flawed is expanded upon at some length. Shakespeare is brought before the court to listen to attacks on his style and responds as follows: “To lift my voice up in these echoing halls, even to defend my play, would ill become me. My poor lines were not written for a polished court, nor can I sing of Hero’s might deeds[.] I only have the humble, artless knack of sketching men and women as they pass, suffering the petty woes of everyday.”
Keywords
Early 20th Century
Notes
Original Transcript: Mount Saint Vincent Univeristy Library.
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Adaptation of
Shakespeare's life
Shakespeare as character
Entry Last Updated 8Jan07 5:01PM

 

Copyright © 2004 Fischlin, Daniel. Canadian Adaptations of Shakespeare Project. University of Guelph. All Rights Reserved