William Shakespeare (1564 – 1616)[1] is an English poet and playwright, widely regarded as the greatest writer in the English language and perhaps the world's pre-eminent dramatist. His influence on South Africa has been profound, as indeed it has been throughout the Empire and the world.

The playwright

The conventional biography of Shakespeare is that he was born and brought up in Stratford-upon-Avon, Warwickshire, married Anne Hathaway at age 18, and then began a successful career in London as an actor, writer, and part-owner of a playing company called the Lord Chamberlain's Men, later known as the King's Men, then retired to Stratford around 1613 at age 49, where he died three years later. However, since so few records of Shakespeare's private life survive, there is much uncertainty about the truth of this version, and Shakespearean authorship question[2] is still very actively pursued today.

The surviving works ascribed to William Shakespeare, including some collaborations, consist of about 38 plays, 154 sonnets, two long narrative poems, two epitaphs on a man named John Combe, one epitaph on Elias James, and several other poems.

Most of Shakespeare's plays have multiple names assigned to them in the various manuscripts, from full titles with elaborate subtitles, to short, abbreviated titles. In ESAT we follow the general convention of using the shortened titles, (e.g. Richard III, Romeo and Juliet, Hamlet, King Lear, etc.).

Shakespeare in South Africa

Performances and adaptations of his plays in South Africa

His plays have been translated into every major living language and are performed more often than those of any other playwright. imported into South Africa under colonial rule, his works have frequently been performed here by amateurs, professionals, schools and universities. Numerous translations and adaptations of the works have also been created in South Africa, in most of the 10 indigenous languages as well.

Shakespeare in Port Elizabeth

1950 - 1970

Since the end of the Second World War, many well-known names have been connected with Shakespearean productions in Port Elizabeth but the most important was that of the producer Will Jamieson. Erratic, exasperating ruthless as he often was, he was a genius with a passion for and a deep insight into the plays of the Master. Many cursed him but all respected him for his great ability. He was a perfectionist and therefore doomed to frustration, yet he never failed to put his whole being into his work. The poor human mortals with whom he had to work he often regarded as tools that turned up at the edges. He knew what he wanted, how things ought to be and he became impatient and angry when things did not work out exactly his way. His own performances were models of acting and he failed to realise why everyone else could not attain to his standards.

A Scot by birth, he was a Bayonian by upbringing and education. After winning the Gold Medal for dramatic production at a Port Elizabeth Eisteddfod, he went overseas and attended the Royal Academy of Dramatic Art. There he won the Leverhulme Scholarship for the most promising student in his class and an award at the RAGA Annual Public Performance at the Aldwych Theatre. He toured as a professional in England and Ireland until the outbreak of the Second Worl War and associated with many of the famous actors of the day. He served with the Royal Air Force and after the war returned to South Africa as the leading man to Nan Munro in the Munro-Inglis Company and was also associated with Gwen ffrangcon-Davies. He was producer for the first repertory season of the Brian Brooke Company in Cape Town, and later joined the National Theatre Organisation as one of its leading players.

In 1950 he returned to Port Elizabeth to produce "Twelfth Night" for PEMADS, the first post-war Shakespearean production company in the town. This was staged in the City Hall from the 18th to 21st of October, 1950. Although it received lukewarm reviews it was still looked back by those who took part as a splendid occasion and marking a milestone in the history of local theatre. One of the outstanding roles in the production was that of Malvolio - played by John Hamber.

The next production "Henry VIII” (June 1-6, 1953) was under the auspices of the committee set up to organise the celebrations in connection with the coronation of Queen Elizabeth II, and Will Jamieson was called back to take charge of what was really a play-cum-pageant. The huge stage of the Feather Market Hall was converted into a magnificent set reminiscent of Wolsey's Hampton Court. Music, dancing, choirs and processions made up the production. Rehearsals were a matter of sweat, toil and tears, with actors often going home utterly exhausted in the early hours after all-night stormy sessions. Most Memorial was Johann Nell’s portrayal of Wolsey, while the ending, most appropriately, was the prophetic peroration over the infant Princess Elizabeth, finely declaimed by John Hamber in his part as Bishop Cranmer. All the leading actors of the city took part -- Ronald Davis, Brocas Harris, Christine Hamilton-Cox, Maurice Weightman, Peggy English and Leicester Walton, to mention but a few.

Seven years were to pass before the next Shakespearean play but this was undoubtedly the greatest of all. The combination of Will Jamieson as producer and André Huguenet as the lead in "King Lear" was splendid. This was put on in the Opera House under the auspices of the Red Cross Society in May, 1960. This performance is regarded as the highlight of André Huguenet’s distinguished career and almost his last great role before his untimely death. This play, too, gave Helen Mann her first main Shakespearean role as "Goneril" (she had had a minor role in "Twelfth Night"). The cast was greatly strengthened by the professional actor Gordon Roberts as "Kent" and John Hamber as "Gloucester".

The success of this play inspired the founding of the Theatre Guild, the brainchild of Bruce and Helen Mann. They proceeded to organise a series of outstanding plays including Shakespeare. We must note PEMADS’ production of "Winter's Tale" in the same era as "Lear". This was put on as part of the Municipal Centenary Celebrations, and in those Jim Shorrock began his series of leading Shakespeare roles. He took the part of ""Leontes"". Mary Howe was the producer. Within the limitations imposed by the smallness of the Little Theatre stage, this was deemed to be a creditable if not outstanding production.

The Theatre Guild had been putting on plays of outstanding merit since 1961 but did not venture into Shakespeare until 1963 when they invited Will Jamieson to produce "Hamlet". In this play the technical expertise of the Guild was evident in the sets, costumes and liking. Jim Shorrock gave a fine performance as the "Prince", even earning commendation in a British theatre magazine whose editor happened to be in Port Elizabeth at the time of the showing. John Hamber, of course, was the natural choice for "Polonius". The play went very well although there were a few mishaps which, were more amusing than disastrous. The Queen's bed collapsed; the recorded voice of the ghosts came in a little too early and was immediately cut off so that one heard "Sw - silence - ear!" "Osric" forgot a crucial line in the dual scene and "Hamlet" and "Leartes" had to fight on until he remembered it and there was a mix-up passing round the poisoned cup but these things happen in the best regulated companies.

1964 was the 400th anniversary of the birth of Shakespeare and Theatre Guild went all out to make the presentation of "The Taming of the Shrew" as splendid as possible. Will Jamieson was in control again. The costume makers and set builders excelled themselves. A choreographer organised the dance scenes. On the Festival night, April 23, a huge birthday cake in the shape of the original Globe Theatre was cut ceremoniously and every member of the audience got a piece. Helen Mann and Brian Gaven took the main parts, but Gordon Roberts’ "Grumio" was a highlight, while the newcomer, Roy Williams, established himself as the local theatre's finest comic actor. On this occasion the message of goodwill was received from the Mayor of Stratford-upon-Avon.

In July of that year the city was visited by the Cambridge University group brought out for the Shakespeare Festival by the English Academy of South Africa. They presented two of the less popular plays, "Comedy of Errors and "Love's Labours Lost". These were interesting productions in a new exciting modern idiom, almost a romp.

When the new University of Port Elizabeth was opened in 1965, it was decided to celebrate the occasion by a festival of the arts, and Theatre Guild were called upon to undertake a Shakespeare play. "Much Ado about Nothing" was chosen and the famous actress Margaret Inglis was invited to produce it. It was put on at the Opera House from August 10-14. Helen Mann and Gordon Roberts took the parts of "Beatrice" and "Benedick" while Alfred Porter was chosen for the part of "Dogberry". The play was put into Victorian costume, a move which it was generally agreed was highly successful. The singing of choirboys in the wedding scene and Clive Selley’s delicate rendering of "Balthazar"'s song added greatly to the beauty of the play.

Shortly after this, Theatre Guild went into partnership with the Port Elizabeth Gilbert and Sullivan Society for their mutual benefit and the re-sources of the new organisation were concentrated on producing musicals to build up funds. Shakespeare had perforce to be neglected for some time. However, in November 1966, PEMADS presented another Will Jamieson production -- Macbeth -- at the Little Theatre. Again Jim Shorrock took the title role while Gay Neal-Boss returned to the stage after a long absence to play "Lady Macbeth".

None of the Bards works was produced in 1967, but in 1968 we had three productions. The first was a visit of the eminent British Shakespearean actor Leslie French to give a solo performance of excerpts from Shakespeare under the aegis of CAPAB. Bruce Mann took the opportunity to get in touch with him. In August, another company of players from Cambridge University, now calling themselves the Dryden Players, gave a performance of "All's Well That Ends Well" at the City Hall.

Towards the end of the year and the Opera House, newly renovated, was re-opened as Port Elizabeth's first Civic Theatre controlled by the Cape Provincial Administration. The first Shakespeare play put on in the new theatre was Helen McNamara's "Richard III". This was dogged by bad luck right from the beginning. Various disasters struck during the period of rehearsal, including the collapse of a rostrum which badly injured two of the leading actors. Courageously they went on, although Noel Morgan had to play the part as Edward IV’s queen seated all the time. Jim Shorrock was again cast for the title role and the long list of players included many of the city's leading actors -- Colin Ward, Harry Magnus, Philip Jackson and Iris Hawken.

By this time the Port Elizabeth Gilbert and Sullivan Society and Theatre Guild had been put well and truly on their feet by several successful musicals and they felt free to turn to Shakespeare again. Arrangements were made to put on "Romeo and Juliet" at the Opera House in March 1969. Helen Mann was the director and for her "Juliet" she chose a talented 16-year-old schoolgirl, Alice Krige. This was a bold move as, although in the play "Juliet" is supposed to be 14 years of age, the plot is usually taken by a mature and experienced actress. Opinion was divided as to the success of the experiment, but certainly the public seem to like the mixture of maidenly modesty and awakening passion which Alice portrayed so well. However, everyone agreed that the part of the nurse was played splendidly by Edith Porter and was the highlight of her acting career. The great favourite of the public was "Mercutio", a masterly portrayal by Roy Williams. Again settings, costume and direction were superb.

The latest event in this Shakespearean progress has been the presentation of "Twelfth Night" in connection with the 1820s settlers 150th Anniversary Celebrations. This was organised by the Settlers Pageant Committee, although most of the actors and technicians were drawn from the Theatre Guild, and the reversals were held in the new Port Elizabeth Gilbert and Sullivan Theatre Guild rehearsal hall. Two famous British actors were engaged -- Leslie French as "Feste" and Bernard Brown as "Malvolio". Helen Mann took the part of "Viola", Roy Williams that all of "Aguecheek", and Derek Scarr that all of "Sir Toby Belch". Although it ran for a week only it was well-received and practically every seat for the full run was taken it was indeed a fitting conclusion to two decades of Shakespeare.