Will Shakespeare

Written by none other than award-winning dramatist John Mortimer (the creator of the immortal defence barrister 'Rumpole of the Bailey') it shouldn’t come as any great surprise that this versatile fellow should turn his attention to the greatest playwright that ever lived… yes, the immortal bard WILL SHAKESPEARE. This mini-series is comprised of six episodes and each of them provides the inspiration for one of Shakespeare's masterpieces. Tim Curry gives an accomplished and memorable performance as the titular character in this prestige drama from 1978 – now available as a 2-disc DVD set.

You don’t necessarily have to be a Shakespearian scholar to enjoy this atmospheric romp but it would be true to say it certainly helps. That said, your enjoyment will not be affected, as this review will provide some helpful clues. We begin with 'Dead Shepherd' (now just who might that be?) and here we see a very young Shakespeare, accompanied by his trusty friend Hamnet Sadler (John McEnery), arriving in the London of the last Plantagenet monarch Queen Elizabeth I. The current big-wig playwright is, of course, Canterbury-born Christopher Marlowe (Ian McShane), acting very much as the mentor to the 'new young fellow'. Most will know how Marlowe met his untimely end in a Deptford Tavern (was he really a spy?) though it must be noted that John Mortimer has taken enormous liberties throughout the series and often goes overboard with his conjectures in order to make for a good story. The same goes for this episode as there is no actual documented proof that Marlowe and Shakespeare actually ever met.

In Episode 2, called ‘Alms for Oblivion’, Will is about to make the acquaintance of the dashing Henry Wriothsley, the 3rd Earl of Southampton (a splendid Nicholas Clay). Here Mortimer is sticking mainly to the facts as the Earl was a very good friend indeed (well, many are of the opinion considerably more…) - the two clearly loved each other. The Earl was fabulously wealthy, unbelievably good looking and occasionally, liked wearing women's attire. This episode, however, is mainly concerned with the plague and we see how canny little Jack Rice (Ron Cook), a member of Shakespeare’s Lord Chamberlain’s players, managed to get the monopoly on the great women's parts (as you may know they were ALL played by men back then, just as many of the great male parts are now played by women). However, no reference can be found as to the existence of any Jack Rice from that period.

Not to give a great deal away it shouldn’t take you too long to work out where the inspiration in Episode 3 ('Of Comfort and Despair') appeared in the great man's works. For this, Mortimer came up with something very original indeed and actually invented a totally fictitious character for 'The Dark Lady of the Sonnets’ called Mary Fleminge (Janet Spencer-Turner). Now, there was a Mary Fleming (some twenty-two years Shakespeare's senior) and companion to Queen Elizabeth I - but Mortimer didn't base his character on her (Emilia Lander, a member of the Bassano family, was a favourite candidate though the true identity of the real 'Dark Lady' was never revealed). We have not the space to exemplify but there does seem to be some basis in truth that Will had fallen (or thought he had) madly in love with this mysterious woman and that she played him along and had a fling with the much better-looking Earl. To make things more complicated, the Earl merely wanted to prove to his friend Will that Mary was in fact little more than a ‘strumpet’ anyway – nonetheless, this indiscretion on behalf of the Earl drove a serious wedge between the friendship of the two men, much to the Earl’s despair.

'The Loved Boy' (Episode 4) looks at Will's relationship with his young son (Joshua White) - yet another Hamnet (not Hamlet) whom he seems to treat as a young adult. Alas, the boy – who very obviously feels little affection for his mother Anne – refuses to speak until Will takes him away from his hometown Stratford-upon-Avon and down to London where an incident changes things. If little Hamnet has a strained relationship with his mother, than Will’s relationship with his wife Anne Hathaway (Meg Wynn Owen) appears to be even more strained and it would seem that by now he has alienated himself from her and indeed his old friend Hamnet Sadler. Will is keen to get his young son involved in the theatre… sadly, most may know such was not to be as the poor little lad died aged 11 (although no cause of death was officially recorded, here it is hinted it may have been down to consumption).

In Episode 5 ('Rebellion's Masterpiece') we are all aboard for some heavy political intrigue with the arrival of the handsome Robert Devereaux, the 2nd Earl of Essex (seasoned stage actor Keith Baxter). A big favourite of the ‘Virgin Queen’ he reputedly amused her greatly. As a result of conspiring against his own Queen (check out Errol Flynn and Bette Davis in 'Elizabeth and Essex') he was eventually tried for treason against the Crown, together with the Earl of Southampton whom he managed to embroil in his dastardly plan, and was executed on Tower Hill. This brings us to the final episode 'The Living Record' and here it is left to the now seriously balding Will to persuade the ageing Queen (Patience Collier displaying her regal charm) that the Earl of Southampton really had no idea what he was doing when he unwittingly got himself involved with Essex. Not wishing to give too much away here, but after the Queen’s death the new King James I will provide some clue… and just who is going to get inordinately matey with the news Scots King… (played by Bill Paterson, who displays none of the regal grandeur such position would require).

Once again, Mortimer is stretching the facts, as there is absolutely no record of Will Shakespeare ever meeting the Virgin Queen. James I was, however, a huge enthusiast and soon the Lord Chamberlain’s Men would become the King's Men under this theatre-loving Monarch's patronage - which was to put a considerably different slant on the bard's work. This series succeeds in invoking the period only too well and if that isn't enough we have some fine performances, as well as unintentional comic interludes, such as Dick Burbage (Paul Freeman) going through Hamlet's 'To be, or not be' soliloquy at breakneck speed as a scuffle breaks out at the wooden O and Jack Rice in female attire provides a few giggles as well. Perhaps it should be pointed out that some of the wigs and costumes look too modern in texture and fabric, though of course it looks good on screen. Tim Curry giving us a sensitive Will Shakespeare from youth to middle age and is never less than convincing. Also on hand are revered early music troupe 'The City Waites' who provide the soundtrack (composed and arranged by Richard Hill).