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• W307591770 abstract "Cardenio (The Second Maiden's Tragedy) Presented by Southwest Shakespeare Company; Mesa/Tempe, Arizona; April 29-May 8, 2004. Directed by Jared Sakren; set by Jeff Thomsen; costumes by Lois K. Myers; lighting by Dori Brown; sound by David Temby; fights directed by David Barker. With Mike Sherwin (Fernando), Cale Epps (Cardenio), Quetta Carpenter (Luscinda), Bruce Laks (Anselmo), Christian Miller (Votario), Jennifer Bemis (Camilla), Andrea Morales (Leonella), and Paul Silver (Bellario). On the eighteenth-century wrapper of the text known most widely as The Second Maiden's Tragedy, a critic of an earlier age--possibly the third owner of the manuscript, John Warbuton--crossed out other contenders for possible authors or collaborators to leave only the words: By Will Shakespear / A Tragedy indeed. Produced and advertised by Southwest Shakespeare Company as Cardenio: A Newly Discovered Play by Shakespeare Lost for Centuries, the play is certainly a great Jacobean tragedy--great because it causes the unsettling questioning of the genre that has led many critics past and present to treat it with the ironic distance witnessed by that early attribution. Jared Sakren, Artistic Director of Southwest Shakespeare Company, has been staging good Shakespeare for Phoenix area audiences for a number of years, and his choice of this play seems to be an experiment in introducing less canonical works into the company's seasons. Performed in a small theater near the Arizona State University campus (and then reproduced in the summer in Sedona in an outdoor venue for tourists), the play makes audiences uncomfortable, creating a refreshing and distinctly Jacobean sense of unease. Sakren, along with some other directors of Shakespeare, is convinced by the arguments of Charles Hamilton that the manuscript of the play is in Shakespeare's hand and that it is the lost Cardenno, mentioned in contemporary accounts of plays performed at court in 1613 and recorded in the Stationer's Register in 1653. He also believes that the play represents a collaboration with John Fletcher. Hamilton's book is, in fact, on sale at performances of the play, and in at least one post-play discussion actors have speculated about which parts of the play felt like performing Shakespeare to them. Hamilton argues further that Shakespeare's inspiration for the main plot of the play (as well as the more obviously derived subplot) is Cervantes's tale of Cardenio, although he grants that the plots turn out quite differently, and Sakren supports this claim by changing the names of the characters in his dramatis personae to match those in Don Quixote. The Tyrant becomes Fernando, Govianus becomes Cardenio, the Lady becomes Luscinda, etc. Others, however, have not been convinced that this play is Shakespeare's. The play has also been attributed over the centuries to Goffe, Chapman, Massinger, Tourneur, Ford, and Middleton (the 1978 Revels edition by Anne Lancashire settles on Middleton). Regardless of who wrote it, though, the play should be produced and read for its complex evocation and sometimes self-conscious analysis of tragic horror, its characteristically Renaissance obsessions with the inner and outer self, and its troubling, fantastically morbid, treatment of a dead female body as an object of aesthetic contemplation on the stage. The grave-robbing scene plays particularly well with the line between humor and horror, and on this dark stage flooded with reddish light, the robbers must be driven at swordpoint to help open the heavy-lidded grave. When one remarks, I've took up many a woman in my day, but never with less pleasure, the audience laughs, appreciating the joke without letting go of the real anxiety produced by the moment. Similarly, in an earlier scene when Cardenio shoots his pistol at Luscinda's father, who is ready to barter his already married daughter to the newly enthroned tyrant, he spectacularly falls down thinking he has been wounded (he hasn't). …" @default.
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• W307591770 title "Cardenio (the Second Maiden's Tragedy)" @default.
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