This is just plain fun--or not so plain, but amazingly enjoyable for something so filled with new and surprising information. Kastan writes well, seemingly knows everything that has been written on this vast topic, and makes it accessible and exciting.

Shakespeare as we read him! This is wonderful! hard to believe so much information could be made so available and fun to read. Well written and a good looking book--and the price is right!

this is informative, wittily written, and filled with surprises about how Shakespeare became "Shakespeare"; it is also a beautifully produced book, as one would expect from Cambridge.
The paperback makes a great gift for anyone interested in Shakespeare or in the history of the book, even as that history moves into the digital era. A great buy and a must for any college or good high school library.

"Bravo, Mr. William Shakespeare" by Marcia Williams is her 2000 follow up to her 1998 volume, "Tales from Shakespeare." Both books look at seven plays by the bard. The first volume did "Hamlet," "MacBeth," "Midsummer Night's Dream," "Romeo & Juliet," "The Winter's Tale," "Julius Caesar," and "The Tempest." This book covers "Much Ado About Nothing," "As You Like It," "Richard III," "Antony & Cleopatra," "Twelfth Night," "King Lear," and "The Merchant of Venice."

The conceit of these volumes is that Shakespeare's plays are being performed at the Globe, a circular wooden theater on the banks of the Thames River in England. Theatergoers would pay penny and stand in the open courtyard around the stage and watch the play. Such people were known as the groundlings and they got rather rowdy, actually throwing things at the actors. If you paid another penny you could sit in one of the roofed galleries, protected from both the elements and the groundlings.

Williams presents each play in dramatic comic strip form providing three parts to each performance. First, there are the words that Shakespeare actually wrote being spoken by the characters. Second, the plot of the play is told underneath the pictures. Third, around the stand the spectators watch and other a wide variety of comments. Keep your eyes out for Queen Elizabeth, Shakespeare, the Master of Revels, and a guy who only likes the gloomy pages.

Both of these volumes provide a spirited presentation of these Shakespeare plays, giving young readers not only a sense of the story but the way they were originally performed. Of course, the fun comments strike the mark better on the comedies than the dramas (the latter tend to be colored more gloomily), but there is no mistaking the enthusiasm Williams brings to the presentation of these plays. This is an excellent way of introducing young students to Shakespeare's works and hopefully it will whet their appetite for reading more detailed juvenile versions and eventually the original plays themselves.

My eight-year old daughter and I delighted in reading these seven plays together! Marcia Williams has created a colorful, imaginative, fun way to present these wonderful plays so that the young reader gains an appreciation for Shakespeare's works and an insight into the historical period in which he presented them on stage. Each page contains whimsical illustrations, in strip style, wherein the characters speak lines from the plays, as well as a clearly written storyline. My daughter expecially chuckled over the humorous but often droll comments of scampering Globe audience memberas, framing the text of every page. You'll find Will himself is there, too! The events of the plays are not suger coated, though, so the tragedies do rack up a body count and the reader encounters the famous scenes of poisonings and revenge sought by the sword.

I thought this was a great book. I love anything by Marcia Williams. The illustrations are great and there are hillarious comments from the audience throughout the book. This is a great book for kids to enjoy and they also get the basic story line of seven of Shakespeare's most poupular plays. But most of all this book is just fun.

This is the book that opened Shakespeare up to me. In a college Shakespeare class, which I came into with a strong anti-Shakespeare bias, I found myself confused with the language, bored and indifferent with the stories and frustrated. So, I went out and picked up this book (I had read Frye's the Archetypes of Literature) and it immediately changed my outlook on the old bard. I soon noticed that much of what my professor was lecturing in class was taken from Frye's work. I had discovered the secret. This is a very readable, interesting and witty look into many of the Shakespearean plays. Frye is quite unusual for a literary critic, he's fun to read.

Frye's essays on Shakespeare are distinguished by their accessibility. In "The Anatomy of Criticism" and "Fearful Symmetry" as well as other, more scholarly work, Frye demonstrates his profound insights into literature generally in the former and Blake's work in the latter. In both works, the reader is expected to have significant background in literary studies.
"Northrop Frye on Shakespeare" is targeted for the general reader. Frye's commentary helps any reader understand the Bard, but it does so in a more accessible style than any other work I have read by Frye. Ideally suited for the high school student or the college undergraduate, Frye's essays provide excellent entry points into many of Shakespeare's plays for the student who wishes to delve further into these essential works. Not exhaustive like Bloom's "Shakespeare: The Invention of the Human," or scholarly and advanced like Cavell's "Disowning Knowledge," Frye's work invites the reader to ponder some key points and formulate her own ideas.
This collection of essays complements the other works mentioned in this review. As an introductory set of essays on Shakespeare, it is without peer.

This book is excellent. Only two words are needed to explain its incredible value: "Green World"! Nothing more needs to be said.

those authors couldn't have written a finer book. This restored Klingon version is enriched by an indeed eloquent tongue. You may have read Shakespearean plays before but you cannot appreciate Shakespeare until you have read him in original Klingon. William Shakespeare had the soul of a Klingon.
.

Klingon Hamlet is an elegant, graceful, vibrant and original Klingon
version of the critically acclaimed, glorious, magnificent and classic drama. That is why it is called "Restored version of Hamlet". The Hamlet's clumsy, inadequate, awkward and misleading English version has nothing but distorted, flaccid, ponderous meanderings. Now at last, the powerful drama of the legendary and brilliant playwright can be appreciated in the eloquence and glory of the Klingon language.

Well, okay, I liked it too.

those authors couldn't have written a finer book. This restored Klingon version is enriched by an indeed eloquent tongue. That's why Klingon Hamlet is regarded as the restored version.

You have read Shakespearean plays before but you cannot appreciate Shakespeare until you have read him in original Klingon.

You'll love reading the elegant, graceful, vibrant and original Klingon version of legendary, critically acclaimed and glorious drama Hamlet instead of clumsy and awkward English version.

I thought that Midsummer Nights Dream was a good comedy by William Shakespeare. This book is about 2 couples who are in love with one another but their love changes when fairies come with a special plant to change their hearts. The couples are then in love with the wrong person for the wrong reason. While all this is going on, common people are preparing a play for the duke's wedding. Although the play is short, every part of it is enjoyable and funny. If you read one scene, you will want to read the next.

As a seventh grader I have just finished the required read of a MidSummer's Night dream and I found it to have a plot line that kids can relate to through movies but not through the life that a kid lives. We see love all over televsion and we see how it works and we can connect that to the play. What I do think that was great about this is how it kept to ryhming and a rhythem, I think that is what creates a great book!

One of Shakespeare's most enjoyable works, "A Midsummer's Nights Dream" is the story of four lovers (either loved, in love, or both) who travel into an "enchanted" forest, filled with magical fairies who play tricks on them and even themselves. Meanwhile, a hapless stage production prepares for a performance at the Duke's wedding. All storylines lead to an enjoyable resolution climaxing with the hilarious performance of "The Most Lamentable Comedy of Pyramus and Thisbe." This is one of Shakespeare's funniest and consequently is one of his most univerally-enjoyed plays. I recommend it for anyone with any interest at all in Shakespeare's works.

When a friend gave me this book, my first reaction was, "Great subject, handsome book--but too scholarly for my blood." Once I started leafing through it, though, I couldn't put it down. Berkowitz writes with flair, and manages to entertain and instruct at the same time. He starts by bringing the reader into the world of late 19th century Yiddish theater in New York City. He vividly describes the theater buildings, the audiences, the actors and the playwrights who made the Lower East Side such a hotbed of activity. Then he takes us on a fascinating ride, organized around the Shakespeare plays that were most successful in Yiddish. This book should be a must on everybody's reading list this summer!

Although this study focuses on Yiddish productions of Shakespeare, it reaches beyond that specific topic to tell several stories at once. One is the story of the development of the professional Yiddish theater. Berkowitz gives a concise explanation of how this arose, both in Europe and in the United States, and vividly describes the Yiddish theater scene on the Lower East Side around the turn of the 20th century. A second story within that story is what he teaches us about Yiddish audiences; the book is filled with fascinating documentation of their responses to these productions. More broadly, he tells the story of the East European Jewish immigrants who came to America in huge numbers in the late 19th and early 20th centuries, for their experiences were reflected in the plays they attended, and Yiddish playwrights used Shakespeare to address issues like generational conflict, assimilation, etc. This book should become an instant classic for anyone interested in any facet of Yiddish culture!

At last, a work of substantial scholarship that can not only enlighten, but actually entertain, the lay reader! For those of you intimidated by the Bard, don't despair; Berkowitz wears his considerable learning lightly, and demonstrates with style and wit how Yiddish playwrights turned to Shakespeare in an effort to "legitimize" the American Yiddish stage. "Shakespeare on the American Stage" benefits from the author's extensive work with contemporary scripts, newspapers, memoirs, and other sources. More importantly, it tells a compelling story of American Jewish immigrants through the prism of the theater--a real treat!

I bought this book on the basis of the fine reviews. It is good, glossy, and an easy read. My disappointment is that I did not realize that this book is not geared to high school students. I had hoped to find activities that would spark my students, but --there is, for me, too big a stretch between text and activity. I can see the making a bird feeder and the references to birds in Shakespeare's works at an earlier level, but not for high school seniors. The book is, however, filled with historical references and good pictures.

It was great to revisit one of my favorite places in the world = Stratford-Upon-Avon = and to learn about London and the theatre in the 16th century. I loved this book and my teenage boys loved it, too. It is beautifully written and well researched and the activities are a lot of fun.

If you like Shakespeare and you like kids, you'll love this book. I found this to be an original and colorful introduction the life and times of the Bard of Avon, which can be enjoyed by children as well as adults.

If you are an actor or want to know what it takes to become a great actor, this book is a must read. I have not found any book on acting that has kept me interested and intrigued as this book. It is a wounderful read for all seriously interested in acting.

This is the best book I have ever read on the process of acting. It should be required reading for every actor! It details the process that Antony Sher went through in developing the character of Richard III. It's a "fast" read because you are so eager to find out what he will do next. Highly recommended.

I first read Year of the King 6 years ago while studying in London. I fell in love with the works of Antony Sher on stage and was thrilled to find this book. Its been a source of inspiration and admiration since and has opened my eyes to what a different world actors live in. I am now that much closer to understanding the intricacies of performance through the words (and sketches) of Antony Sher.

The best part about this book is Hawke's sharp-edged dialogue. For those who want to read Shakespeare but are daunted by sixteenth century English, Hawke retains all the inimitable bard's wit in a modern format.

Tuck Smythe and his friend Will Shakespeare along with the Queen's Men, their theater company, are heading out of London to avoid the plague, and find a commission to play at a wedding. It should be a wonderful opportunity. Shakespeare has a chance to show his first play, and Tuck can visit with Elizabeth who serves as maid of honor to the bride. What could possibly go wrong? When the bride arrives, apparently murdered what can go wrong is frightfully apparent. Worse, the death of the shrewish older sister frees all the suitors to pursue the lustful Blanche--including the least scrupulous.

Author Simon Hawke writes with a light comic touch, yet with an insight into young love and accurate although not overdone historical insights. Fans of William Shakespeare will get a laugh out of Hawke's ideas of where some of his ideas, and many of his well-known lines emerged. Protagonist Tuck is an interesting and likable hero with an ambition to be an actor almost as strong as his stage fright. The twists and turns of this mystery combine Shakespeare's Taming of the Shrew with Romeo and Juliet and a bit of dozens of other plays.

Although it is a short novel, Hawke did spend a fair number of pages repeating what he'd already told the reader--clearly something to be avoided although, in the case of THE SLAYING OF THE SHREW, a fault that can easily be overlooked in the high quality and smooth writing.

Second in the series, this novel picks up right where A MYSTERY OF ERRORS left off. Symington "Tuck" Smythe is unsure of his role in the company of players that he and Will Shakespeare have joined, and he is doubly vexed by the state of his romance that occupies nearly all his waking thoughts. When the players are contracted to provide theatrical entertainment as part of a large wedding pageant, Tuck "volunteers" Will into becoming the writer of their production, a role that may "make or break" him as a major talent. The only problem is that a series of murders turns the event of the year from a marriage celebration into a funeral.

I found this tale far more satisfying that the first in the series, particularly as the language used by characters is, for the most part, far more convincing. The Elizabethan-period politics, familial chicanery and villainy all make for a delightful mix of historical fact and fiction. Light-hearted, humorous and convincing in plot-I can highly recommend this for your shelf of historical mysteries.

Lacks the tragic inevitability of "Dead Man in Deptford", but still a good read. Brilliant language, Elizabethan England nicely evoked, well-drawn characters, clever speculation to fill in the gaps in what we know of Shakespeare's life. A bit crazy, especially at first, but that's what you pay for with Burgess, right?

Anthony Burgess's "Nothing Like The Sun" is a linguistic marvel. It is a philosophically oppressive look at William Shakespeare's foray into literature and the world. Starting in the small 'borough' of Stratford, WS (as he is called) is an apprentice leather craftsman. He spends his days and nights dreaming of plays, gentility, and idealistic love.

Most of the novel shows WS trying to figure out what kind of love he is after. His notions of love come from Plato's "Symposium" - will it be common, physical lust, or contemplation of absolute beauty leading to his best poetic and dramatic works? The relationships that the novel explores these questions with are with the youthful noble Henry Wriothesly and the exotic, colonial Fatima.

Burgess delights in wordplay throughout the novel, using for the most part, the language of Shakespeare's plays and sonnets in the narration and dialogue. Unlike "Shakespeare in Love" Burgess's novel does not build around any specific text, instead making his works almost marginal to the drama of Shakespeare's fictional biography. Burgess presents Shakespeare's works as the results and expressions of a desperate life.

Burgess augments Shakespeare's story with an almost post-colonial historical setting. With Fatima allegedly from the Indies, and a backdrop of English oppression of the Irish, "Nothing Like The Sun" complicates Shakespeare's historical moment. Class struggles, plagues, and political sterility also mark the temporal setting as the novel moves from the country (Stratford) to the coast (Bristol) to the capital (London).

Reading "Nothing Like The Sun" was a welcome experience for me, having only ever read Burgess's "A Clockwork Orange" before. The writing style takes a little getting used to, but that is the price you pay for art. I highly recommend it.

This fictional account strings together those facts we know about Shakespeare and uses complete and admitted fancy to flesh out the rest of his life. In this way, Burgess creates a fascinating and engaging lifestory of the young provincial man who became the greatest playwright of our language. While clearly a novel, it manages to make real, palpable people from those faceless names of the Elizabethean time, and helps makes sense (or nonsense) of so many of the theories surrounding Shakespeare's genius. It's vividness shows Burgess as a master of both academia and imagination. A thoroughly good read, and a must for anyone remotely interested in Shakespeare.