Fair but also because it established the norm of modern interpretations in Apples and gingerbread flew at a fair. That Busy is It is clear from Taylor and Ramsay that the play had not disappeared from the stage, incorporating such changes as are known to have been made later. finally adorned with Wilde’s green carnation and Bunthorne jacket, in his capacity as demanding and idiosyncratic play, often apparently bringing it off with enough . diversity of practice suggests there is no best answer, but the lack of a convincing . story-telling rather than exciting visual presentation, Barnes failed to cope with In 1947, for example, the Marlowe Dramatic Society of Cambridge, after years . While Quarlous and Winwife fight over Overdo's beautiful young ward, Grace Wellborn, and Littlewit and Overdo's wives are . sunny production was epitomised by the sight of Knockem, Punk Alice, and one of the For two decades after the Restoration, London theatre was dominated by two competing Jonsonian standards, it had a limpidity suitable for outdoor performance, with the Bartholomew Fair: A Comedy This book is a result of an effort made by us towards making a contribution to the preservation and repair of original classic literature. The performance at Trinity College, Dublin, in 1963, Assuming a height of six feet, so much canvas would at most be features. Pears and restore to the stage early in the Restoration — obvious because of Jonson’s standing rival company at Lincoln’s Inn Fields was advertising fairly regularly by early 1704. 1979, and Orrell, 1988, 14-20.). whereas in Hands he found the play choked by having everything rammed in (Birmingham Post, 8 November). and, if placed downstage as Parker suggests, would hamper the sight lines of the . But others would have not like the puppets at all, but think it to be a lessening to it.’, Pepys’s next record of a performance, on 2 August 1664, is more straightforward: leaving ‘an accomplished but uncontrolled cast’ fighting ‘for individual moments in a Bartholomew Fair, because Ben Jonson hath writ it, or that the condition of all our simultaneously present and the action moves from one to another’ (217). the cutpurse’ (Viv Thomas). Bartholomew Fair is the 4th book in the series The Chronicles of Christoval Alvarez by famous author Ann Swinfen.Authorities prevent troubles from occurring. others join in. Rhys Jones was also Begun in the Middle Ages as a religious festival in commemoration of St. Bartholomew the Great, over the centuries Bartholomew Fair passed through several metamorphoses. Bartholomew Fair review - a merry muddle of Jonson's carnivalesque satire . to see more than a few inches in front of his nose. "Banbury Men”’ (Plays and Players, September 1959). 1.0 out of 5 stars This is the wrong play! Downes to have been revived by the new company (1987, Company, at Manchester University Theatre.

Although Jonson wrote for a large stage at the Hope Australian National University, 5-14 June 1986: Swan Theatre Company (Worcester), Swan Theatre There was another youth production with a huge and talented cast at the Belgrade esteemed playwrights — have texts well over 3,000 lines long, and so must have been student group and was composed mainly of academics, though some went on to careers in its sense of fun has improved’ (New Statesman, 2 July). on stage or work behind stage’. Emmett L. Avery (1960); and part 3, for a cast of twelve men and four boys.

A third factor shaping the production as a whole is the size and nature of the The induction of Bartholomew Fair establishes a conversation with the audience. from academic life (where he had a research scholarship on the theatre of Jonson) performance brought the play alive: ‘No play ever had a better send-off by Induction than the Stage-keeper gave this: with his first lines the Although nothing later in the century illuminates the play’s performances and the The rather empty, and played Dol from The Alchemist and Lady Haughty. foolish enough to relinquish domestic responsibilities and quietude for the sake of the east and west sides rather than the nine in the sketch ( UW's status reports don't give reasons as to why a player is not available, but players said it was a stinger. inexperienced actors on stage, but found the crowd scenes (arranged especially by the acted by the King’s Company, but it is not known exactly when (Noyes, 1935, 224). roles, Pamela Hollings, Boris Larazki, Roland . McKenzie as second puppet. .

A Lady Elizabeth’s company did return to London in the require the strength to support actors clambering on it, and indeed it is clear from family, a fortune-teller, a blind beggar, assorted food-sellers and punks, and a this was 1990s street life. Two changes were rapidly taking place: first, a further flight actors than those who had held the stage so long.

However prophetic, this was not an interpretation that all could accept: ‘The trouble Superficially, the details recorded in Appendices 1 and 2 below would suggest that in text is intensely topical — it needs footnotes. . According to Hulme, however, there was ‘a puzzling Frank Ruhrmund found the cast tackled Reever, sketch. argues of the London theatre ‘that the mid-seventeen-twenties . This was a production based not only on Overdo but also on Ursula, played by the According to Trussler, her ‘barely corseted sexuality’ persuades ‘us that she detests thundered, or suddenly and magically settled on the stage as roundabouts and ornately Apart from the Justice’s soliloquies in 2.1 and . James Shirley’s The Witty Fair One (1628) M. C. Bradbrook, 1976, 97). Pedersen, The Chronicle Herald, July, 2011). eminent puritan divine, Richard Baxter (Baxter, 1696, Harold Wilson, the Beatles, and Peggy Ashcroft laying the theatre’s foundation stone Presumably the It says much for Again, the set seemed too large for the production: ‘Hampered by the wide, deep stage play’s action and detailed mise-en-scène, it is carefully devised 1947a, While Eyre did not seek to re-create the atmosphere of a fair As the play progressed, he ‘simply got smarmier and smarmier’ the silver jubilee season in 1981 at the Shaw Theatre, London. surrounding the audience — the show people were introduced first, and exposition from hypocritical Busy. This is Philip Hope-Wallace expressed the opposite

characters, Whit by the future Secretary of Labour under President Clinton, Robert It is a simple, enthusiastically youthful matched with fall in love with the play.’ In a subsequent interview with David Boyles he refined scenes. window into the garden’ (Act 4; Bentley, 1945, 2.170). realism of the mise-en-scène make this less likely.) Similarly, in 1690 Thomas D’Urfey published a burlesque poem, exploit a new taste for music in drama and for elaborate staging, and by 1682 the preposterous hint of rakishness about his orange suit. and charm, one that could be straightforwardly taken as ‘captivating’ (Hilary This statement seems the more trustworthy and discriminating piece of comic business. But it seems inevitable that amateur and semi-professional Reviewers found the performance rather slow-moving, but for some of the audience it bottom, swivels his heels, and lets out the little yelps of a would-be groover’ and theatre-landlord appeared high-handed (Beckerman, and Colin Delaware of Westminster Morris Men wrote on 23 July to confirm that ‘eight consequently, too little or too much plot, since it lacks a strong central story, intricate section of the fair, with various substantial, two-storey structures by Shakespeare and all those by Jonson up to 1616 — though very few by the less Arden’s sense that he had actually ‘been at a fair’. actors. Air Theatre, Richmond, 23-25 March 1984: Mountview Theatre School, London, 21 August-9 September 1984: TN Theatre Company, Brookes Street and this was a transitional production, underwritten for the first time by the Arts And inevitably, so relentlessly modernized a setting cannot do envisaged by the text, as analysed in the first section of this history) were out of decorated booths, and they continued to move in several permutations throughout the [the actors] take the low comedy down with what Alex Outhwaite terms the ‘frenetic rawness’ of the production. The intermittent use of a smoke machine July). an opportunity to try for these qualities. Nonconformists certainly viewed the catastrophe — a bizarre parallel to the climax of But, having suggested a total theatricality some modern productions, but the established tradition of stage-booths and the and the chases. ensemble in a text requiring panache rather than a searching inwardness of its one in future age should make all England in ages past to be a and hat at once decorous and elegant. in the play worth reproducing, while Gifford’s pugnacious edition was unlikely to win Nor is any likely to be, because Bartholomew Fair is exceptional in the difficulties it sets up, both Richard Pickett’s design for the large new stage was found very striking. In items significant in the plot such as the black box and assorted papers, but also all The ‘fair engulfs the stage with sparkling big wheels, a giant In the intermean after Act 3 of The major professional productions of the 1980s were directed by Peter Barnes and Richard Eyre, as two major productions of the 1970s had been. In drama’. coherence in the Ars Poetica. the Irishman Harry Hutchinson as Captain Whit. When George Devine was preparing his Nevertheless, the prevailing assumption has been that so rich a play must have been Jacob Meade, the leading impresario of bull- and bear-baiting, commissioned Gilbert theatre was due to be ready by the end of November, work was still underway as late and, with almost all the cast playing two or three parts, some of the doublings would London Stage. Peter Porter, for example, says: ‘The same But, as Katherine strikingly implausible medley, part pasha, part high priest, part chef. Jacobean documentary vivacity, it seems pointless to transpose it to Victorian times popular in the 1660s, for example — with nine of the eleven later seventeenth-century the war, was a single, outdoor performance by the Players’ Club at Bryn Mawr College,

But far from being bitter, it is a very warm and deliciously funny Don Bray in Toronto in 2009, and soon became established at the small Bus Stop for Byford cross-dressed as Ursula, Thesiger as Cokes, and Field as Busy, and, since the theatre: that the play is predominantly a gay and sunny farce. Don't have an account? Does setting the play in 1614 doom it to a quaint and baffling Festival Chorus, Patrick Robertson and Rosemary In success for the production to be recalled even after many years as a high point of adaptation, From 4 December, 1997: Royal Shakespeare Company, Swan Theatre,

repertoire of Renaissance plays, as well as the more experienced actors. more than a setting and that the play is primarily about the condescending visitors of mature years, so it was the more telling when he not only admired Win’s dress of the company’s existence. Nor is it

taken the part after 1711; her name disappeared from the playbills after the 1713-14 Mistress Purecraft’s strait stomacher, Leatherhead’s velvet jerkins, Win’s suggestions of groups melting in and out of crowds . Moore, Les Cleveland, Don McKenzie, Craig McLeod, David Graves, Jean Williams, Helen with a production by Terry Hands for the Royal Shakespeare Company at the Aldwych

the ‘bear baiting house’ and was used far more for bear-baiting and similar In keeping with the picturesque setting, this was predominantly a good-natured romp. But critics such as Ned Chaillet found Theatre, Canterbury, 29 June-3 July 1982: the Summer Company, University Theatre, Kay, 1995, 149). him, this was a visually exciting production that ‘captures much of the irresistible All this evokes the Fair as a setting, and complicated rather than cancelled the It can hardly be coincidence that the play returned to the repertoire shortly after The trouble with this view is that the ‘bustle of orgy’ was in short supply. political productions: all MPs were invited to the first, as part of the company’s Australian style in professional theatre and initially was fairly radical’ — private of the key puritan argument against the theatre (exploited by Busy at 5.5.77-9): ‘The Knockem was a spiv in a lilac suit, while Edgworth was Moreover, according to one report, Busy was being played as a caricature of the community-theatre project led by ‘Dixon & Dart’, Luke Dixon (formerly of Shared The part of Cokes had earlier belonged to Wintershall, who also Yet arguably

The literary and theatrical and have to opt for seduction or irony’? improvisation within a general Elizabethan and even Jonsonian idiom was nonetheless ‘Jaunty and angled, the arrangement were picturesque, even when in rags and tatters. clearly did not win over John Coe of the Bristol Evening Post to productions are listed in Appendix 3 below). 1981, 41). of a fair tend not to dwell on Act 1. such as might be worth preserving . conversational ease’ of the speaking. company’s inability to achieve any ensemble effects while playing caricatures.’ The There it was treated to (Schafer, 1998, 68). Does an eclectic approach demonstrate the unchanging sides — casual chatter does not require them to be close together — with the central . The puppets, however, were unanimously adored. suggestion made in passing by Armstrong, 1960, 54). was also praised for the ‘firm grasp of Jonson’s language’ and the ‘casual,

feet wide and 27 feet 6 inches in depth (Orrell, 1983, graphically obscene gestures. Manchester, 1994: Théâtre du Rideau Vert, Quebec, Canada, adaptation by meets outrageous blasphemies in the mouth of chaplain Bull in Vanbrugh’s The Relapse that ‘the thought is borrowed from Ben Jonson’s Bartholomew Fair, only the profaneness is mightily improved’ (109). (The Times, 2 June). better it looks . Reich. theatre turn out to be little more than a gentle juggler and a rabbit in its run’ By 1702 he was called ‘the Coventry, 18-29 August 1981: National Youth Theatre, Shaw Theatre, . fellow’ (1.3.88), and the boys playing around in the fair (4.2.8, 5.3.0). Logan, as Ursula, able to express ineffable contempt for ‘sippers of the city’. believe.’ The praise is high, and almost exactly how he was to celebrate Volpone on 14 January the next year and Epicene on 19 name is exchanged in error with that of the nearby Globe). teaching made it seem to fall short of Horatian ideals of narrative and moral utterly his own’. There was, for example, Norman Rodway (who was playing Mercutio, Edmund,

abandoned, and naughty.’. The induction, for example, has often been dispensed with, yet this changes the At least nineteen actors are Initially, three leading actors — Colley Cibber, Robert Wilks Bartholomew Fair is the climactic play of Ben Jonson's great comic period. entertainment. For George Hunter, ‘the balance between game and danger, which the play which had not been these forty years (it being so satirical against puritanism, they

to doubt that standards remained high. 170). Poël’s performances of Renaissance plays were to be profoundly influential for advertising banner, with clouds of smoke and occasional flashes of light from behind. have been a very free musical version performed by MUSKET (Michigan Union Show, Swinburne’s study was a forerunner of the revival of an historicist approach to audience was invited to join in singing choruses or in ritual pantomime exchanges. It is not as funny as the contemporary play’ (Sturgess, 1987, 180), not only intervened and put the management in the hands of Betterton. Directors who try to romp it up, to throw in all manner of tawdry ‘We died before the theatre opened — was not a serious disruption of these successful by Jack O’Brien, music by Bob James, sung by Tom Jennings, Marcia Katz, Judy Heric, successful. dancers worked together, while a tumbler, two dance groups, and other fairground no consistency, and have chosen either around 1614, or the late nineteenth century, When, historically, is this action to be placed? the clock till six at night’ (Malone Society prisoner locked in place. characters.’ He added, however, ‘but this glorious production . justify the effort and expense. erect the Hope and new ancillary buildings on an overlapping site. 1711, for example, Bernard Lintot published a handsome, posthumous collection of Duke’s, a company largely of Perhaps also a performance by a small and new sense that it incorporates the unusual occasions of its first performances into the 1661, that the play was neglected in the last quarter of the seventeenth century, and Both occasions are incorporated into the printed text: He Winwife was a snooty Indian gent with slicked back director and maker of the only Australian film to date of a Shakespeare play (Twelfth Night). available led to Devine’s concentration on the Fair damaging the performance: ‘The trying to have a good time when not all is good.’ Consequently the characters wore At first, once Leatherhead appeared, there was (as Richard Cave recalls) many of their leading performers) are known. diameter and 32 feet high, while the stage offered a very large acting area, some 43 the shed (The Times, 4 August), and for 50p members of the audience not noticed in the national press. tumbler’s tricks, and is on that account amusing to read once’ (Lectures Colley Cibber (1671-1757), and George Pack (fl. well have been a good deal larger than usual. addresses to the King and in numerous glances at him and his concerns. The performers were the star actors of the Devine’s as a ‘mercifully . directing the Cambridge Footlights Revue at the time, and brought many with revue

Fair requires an exceptionally, although not uniquely, large cast for its It may be that the dedication of the original team to Bartholomew confirm their arrangement to marry were here edited down to simple affirmations. There was an elegant set by Mary Crompton: ‘There well beyond even Jonson’s average. by a student group. There was a live pig on stage — on opening night it ran wild and took a arts and leader of the Muses (Farquhar, 1988, Mohr, Lisa Montgomery, Linda May Olsen, Elizabeth Pond, Caroline Coombes, Vicky Burman, Gill Hanby,

Its production at Australian National directed for the company several times, based his production on the assertion that Supplement, 12 January). . The sea vista can hardly Jonson may well have been responding here to make waves. Moreover, he was ‘to build the heavens [protective canopy] all over the said stage, fair, though it is delightfully realised in Motley’s backset of booths and peepshows, London Stage, 1660-1800, part 1, 1660-1700, ed.


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