15 Best Shakespeare, Performing Arts Books
Shakespeare, Performing Arts is a popular category for many book lovers. Our team at Speechify has curated a list of the top Shakespeare, Performing Arts audiobooks everyone must read.
See the top 15 Shakespeare, Performing Arts audiobooks below.
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Shakespeare, Our Contemporary
- By: Jan Kott
- Narrator: Stefan Rudnicki
- Length: 11 hours 1 minutes
- Publisher: Blackstone Publishing
- Publish date: January 01, 2014
- Language: English
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4.14(279 ratings)
4.14(279 ratings)Regular Price:Try for $0.0022.95 USDShakespeare, Our Contemporary is a provocative, original study of the major plays of Shakespeare. More than that, it is one of the few critical works to have strongly influenced theatrical productions. Peter Brook and Charles Marowitz are among theShakespeare, Our Contemporary is a provocative, original study of the major plays of Shakespeare. More than that, it is one of the few critical works to have strongly influenced theatrical productions.
Peter Brook and Charles Marowitz are among the many directors who have acknowledged their debt to Jan Kott, finding in his analogies between Shakespearean situations and those in modern life and drama the seeds of vital new stage conceptions. Shakespeare, Our Contemporary has been translated into nineteen languages since it appeared in 1961, and readers all over the world have similarly found their responses to Shakespeare broadened and enriched.
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Julius Caesar
- By: William Shakespeare
- Narrator: Michael Feast
- Length: 2 hours 26 minutes
- Publisher: Blackstone Publishing
- Publish date: January 01, 2005
- Language: English
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3.7(165308 ratings)
3.7(165308 ratings)Regular Price:Try for $0.0014.95 USDAt the heart of this tragic history is one of Shakespeare’s most noble characters, the statesman Brutus, who is caught in a devastating conflict between private affection and public duty. Julius Caesar has become the most powerful man in theAt the heart of this tragic history is one of Shakespeare’s most noble characters, the statesman Brutus, who is caught in a devastating conflict between private affection and public duty.
Julius Caesar has become the most powerful man in the Rome. Does his power now threaten the very existence of the Republic itself? A conspiracy is hatched, one that will have fatal consequences not only for Caesar and the conspirators but for the future history of the ancient world.
Brutus is played by John Bowe and Mark Antony by Adrian Lester. Michael Feast is Caesar.
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The Age of Shakespeare
- By: Frank Kermode
- Narrator: Frank Kermode
- Length: 5 hours 40 minutes
- Publisher: Recorded Books, Inc.
- Publish date: January 14, 2008
- Language: English
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3.68(191 ratings)
3.68(191 ratings)Regular Price:Try for $0.0015.99 USDBritain’s most esteemed scholar of 16th and 17th century literature, Frank Kermode is also a noted author and professor. In this Modern Library Chronicle, he uses the context of the Elizabethan Era to link each of Shakespeare’s plays toBritain’s most esteemed scholar of 16th and 17th century literature, Frank Kermode is also a noted author and professor. In this Modern Library Chronicle, he uses the context of the Elizabethan Era to link each of Shakespeare’s plays to their probable years of creation. By portraying the bard’s England in terms of its society, economy, and arts, Kermode provides an invaluable guide to understanding Shakespeare’s works. “Academics and common readers alike have much to learn from Kermode’s illuminating and delectable study.”-Billy Collins, former U.S. Poet Laureate
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All’s Well That Ends Well
- By: William Shakespeare
- Narrator: a full cast
- Length: 2 hours 36 minutes
- Publisher: Blackstone Publishing
- Publish date: January 01, 2005
- Language: English
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3.62(15248 ratings)
3.62(15248 ratings)Regular Price:Try for $0.0014.95 USDACT IScene 1. Bertram, the young Count of Rossillion, is leaving home to take his place at the court of the King of France, who is gravely ill. Bertram bids farewell to his mother the widowed Countess, her friend the old lord Lafew and the young andACT IScene 1. Bertram, the young Count of Rossillion, is leaving home to take his place at the court of the King of France, who is gravely ill. Bertram bids farewell to his mother the widowed Countess, her friend the old lord Lafew and the young and virtuous Helena, daugther of a famous doctor now deceased, who lives as a dependent in the old Countess’ household. Helena is passionately in love with Bertram, though without hope because he is so far above her in birth. Parolles, a blustering soldier who has attached himself to Bertram, is also going to the French court and Helena determines to follow. She has learned the mysteries of medicine from her father; if she can cure the King, she may win Bertram’s heart.Scene 2. The ailing King tells of war between the Florentines and Sienese; he will give permission to any young gentleman of France who wishes to go to Italy in search of glory. Bertram arrives and the King greets him warmly. Scene 3. The Countess gently forces Helena to admit her love for Bertram and reveal her plan to attempt the King’s cure. The old lady kindly offers her support.
ACT IIScene 1. Lafew announces the arrival at court of a young woman who claims to be able to heal the King. The King is deeply skeptical, but Helena persuades him to allow her to make the attempt. Should she succeed, the King is to grant her the husband of her choice.Scene 2. The Countess’ fool Lavatch is to be sent to the court. He claims that he has a response that will serve him in all social situations, but the Countess exposes his folly.Scene 3. Helena has restored the King to joyful health. He offers her the hand in marriage of any of the young lords at court, but when she chooses Bertram he recoils in horror. Angrily, the King commands Bertram to wed Helena instantly. The marriage takes place, but Bertram vows that he will never sleep with his bride and determines to steal away to the Italian wars at once.Scene 4. Helena receives a letter from Bertram telling her that he has been called away and ordering her to take leave of the King.Scene 5. Lafew warns Bertram that Parolles is a hollow sham. Helena enters and Bertram dismisses her curtly, instructing her to return to the Countess.
ACT IIIScene 1. The Duke of Florence prepares to welcome the young Frenchmen who come to fight on his behalf.Scene 2. Helena has received a letter from Bertram: until she can get the ring from his finger, which he has vowed never to remove, and produce a child that she has conceived by him, she will never be able to call him husband.Scene 3. The Duke of Florence, impressed by Bertram’s military promise, has given him an important command. Scene 4. The Countess has received a letter from Helena telling her that she has gone on a pilgrimage to atone for her sin in aspiring to Bertram’s love and freeing him from his responsibility for her. The Countess bitterly deplores her son’s arrogance and blindness.Scene 5. Helena has come to Florence where she meets a kindly widow and her beautiful daughter, Diana. The widow tells her that Bertram has fought heroically in the war but also that he has been attempting to seduce Diana. Scene 6. The French soldiers hatch a plot to convince Bertram of Parolles’ cowardliness; pretending to be enemy soldiers, they will capture him, then see if he is prepared to betray his friends.Scene 7. Helena, too, is setting a plot. Diana is to pretend to yield to Bertram’s suit on condition that he give her his ring. She is then to agree to an assignation in the dark, at which Helena will take her place.
ACT IVScene 1. Parolles is “captured” according to plan. He immediately offers to betray the Florentines and is blindfolded and taken off for interrogation.Scene 2. Bertram woos Diana, who will yield only if he will giver her his ring. Bertram is reluctant but such is his passion for the girl that he agrees. Diana tells him to come to her chamber at midnight. Scene 3. News has reached Bertram that Helena is dead; his friends condemn his hard-heartedness. The plotters interrogate Parolles. He begs them to spare his life and gives up the secrets of the army, slandering various Frenchmen, including Bertram, as he does so. At length his blindfold is removed and the plot revealed: Parolles’ true character has been exposed. Scene 4. Helena’s subterfuge has succeeded and she is now pregnant with Bertram’s child, though he believes it was Diana whose bed he shared. She resolves to return to France, and Diana and the widow agree to accompany her. Scene 5. In Rossillion, Lafew tells the old Countess of the exposure of Parolles. Bertram is expected home at any moment and news arrives that the King of France is also on his way to the Countess’ house.
ACT VScene 1. Meeting a French gentleman on the road, Helena gives him a letter to be delivered to the King of France.Scene 2. Parolles humbles himself before Lafew, confessing that the old Lord was the first to see through him.Scene 3. The King forgives Bertram for his cruel treatment of Helena, which the young Count seems to repent. The King recognizes a ring on Bertram’s finger as one which he hemself had previously given to Helena; Bertram denies this, saying that he had it from a woman in Florence. The french gentleman delivers Helena’s letter: this relates that Bertram has seduced Diana, then abandoned her–Diana herself is present and wishes to appeal to the King. Diana is summoned and Bertram dismisses her as a common prostitute, though admitting he has slept with her and that it was she who gave him the ring the King has recognized; Diana meanwhile, insists that she is still a virgin. The King does not know what to believe until, to the astonishment of all, Helena appears. She has the ring from Bertram’s finger and is pregnant with his child; the “impossible” conditions have been met and Bertram vows to love his wife “ever, ever dearly.”
CAST The King of France: Clive Swift / Helena: Emily Woof / Bertram: Sam West / Countess: Maggie Steed / Parolles: Edward De Souza / Lafew: Denys Hawthorne / Lavatch: Aden Gillett / Interpreter: Nicholas Murchie / First French Lord: John Warnaby / Second French Lord: Michael Higgs / Widow: Jenny Howe / Diana: Rebecca Saire / Duke of Florence: Gavin Muir / Mariana: Charlotte Harvey / Messenger: Scott Cherry
Director: Clive Brill / Composer: Dominique Le Gendre / Production coordinators: Polly Coles and Charlotte Harvey / Sound engineer: Wilfredo Acosta / Producers: Bill Shepherd and Tom Treadwell
TRACK LISTDisc 1Track 1: Act I, Scene iTrack 2: Act I, Scene iiTrack 3: Act I, Scene iiiTrack 4: Act II, Scene iTrack 5: Act II Scene iiTrack 6: Act II, Scene iiiTrack 7: Act II, Scene iv
Disc 2Track 1: Act II, Scene vTrack 2: Act III, Scene iTrack 3: Act III, Scene iiTrack 4: Act III, Scene iiiTrack 5: Act III, Scene ivTrack 6: Act III, Scene vTrack 7: Act III, Scene viTrack 8: Act III, Scene viiTrack 9: Act IV, Scene iTrack 10: Act IV, Scene iiTrack 11: Act IV, Scene iii
Disc 3Track 1: Act IV, Scene ivTrack 2: Act IV, Scene vTrack 3: Act V, Scene iTrack 4: Act V, Scene iiTrack 5: Act V, Scene iii
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Twelfth Night
- By: E.A. Copen
- Narrator: a full cast
- Length: 2 hours 11 minutes
- Publisher: Blackstone Publishing
- Publish date: January 01, 2005
- Language: English
Regular Price:Try for $0.0014.95 USDShakespeare’s most sophisticated comedy is a riotous tale of hopelessly unrequited passions and mistaken identity. Duke Orsino is in love with the noblewoman Olivia. She, however, has fallen for his servant Cesario, who is actually Viola, aShakespeare’s most sophisticated comedy is a riotous tale of hopelessly unrequited passions and mistaken identity. Duke Orsino is in love with the noblewoman Olivia. She, however, has fallen for his servant Cesario, who is actually Viola, a woman disguised as a man, who loves Orsino: confusion is rife. Meanwhile, Olivia’s arrogant steward Malvolio is cruelly tricked by her uncle Sir Toby Belch, his friend Sir Andrew Aguecheek, and the maidservant Maria into believing his mistress loves him.
Niamh Cusack is Viola, Jonathan Firth is Orsino, Amanda Root plays Olivia, Dinsdale Landen plays Sir Toby Belch, and Julian Glover is Malvolio.
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Troilus and Cressida
- By: Tom Wheelwright
- Narrator: a full cast
- Length: 3 hours 4 minutes
- Publisher: Blackstone Publishing
- Publish date: January 01, 2005
- Language: English
Regular Price:Try for $0.0014.95 USDLust poses as love and ambition as patriotism in this dark and brilliant play depicting the heroic action of the Trojan War. Troy is besieged by the invading Greeks, but the young Trojan prince Troilus can think only of his love for Cressida. HerLust poses as love and ambition as patriotism in this dark and brilliant play depicting the heroic action of the Trojan War.
Troy is besieged by the invading Greeks, but the young Trojan prince Troilus can think only of his love for Cressida. Her uncle Pandarus brings the two together, but after only one night news comes that Cressida must be sent to the enemy camp. There, as Troilus looks on, she yields to the wooing of the Greek Diomedes. The tragic story is undercut by the commentary of Thersites, who provides a cynical chorus.
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Titus Andronicus
- By: E.A. Copen
- Narrator: a full cast
- Length: 2 hours 42 minutes
- Publisher: Blackstone Publishing
- Publish date: January 01, 2006
- Language: English
Regular Price:Try for $0.0014.95 USDThe noble Titus returns victorious to Rome bringing Tamora, Queen of the Goths as his captive. When one of Tamora’s sons is condemned to die, she vows revenge, and, aided by the villainous Aaron, she exacts a terrible retribution, inauguratingThe noble Titus returns victorious to Rome bringing Tamora, Queen of the Goths as his captive. When one of Tamora’s sons is condemned to die, she vows revenge, and, aided by the villainous Aaron, she exacts a terrible retribution, inaugurating a grim cycle of rape, murder, and cannibalism. This macabre, often brilliant tragedy comes from the earliest stage of Shakespeare’s dramatic career.
Titus is played by David Troughton and Tamora by Harriet Walter. Paterson Joseph is Aaron, and David Burke is Marcus.
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Timon of Athens
- By: E.A. Copen
- Narrator: Alan Howard
- Length: 2 hours 18 minutes
- Publisher: Blackstone Publishing
- Publish date: January 01, 2005
- Language: English
Regular Price:Try for $0.0014.95 USDThis controversial play follows the declining fortunes of a man of extravagant contradictions. The fabulously rich Timon believes all his friends to be as open-hearted and generous as himself. When his wealth suddenly evaporates, however, heThis controversial play follows the declining fortunes of a man of extravagant contradictions.
The fabulously rich Timon believes all his friends to be as open-hearted and generous as himself. When his wealth suddenly evaporates, however, he discovers the truth and his altruism turns to a bitter hatred of mankind. Stirred up by the cynical Apemantus, Timon retreats to the woods where he plots the destruction of Athens, the city that had formerly seemed to embody everything pleasurable and civilized. The cosmic scope of his hatred is communicated in a series of powerful and disturbing dramatic tableaux.
Alan Howard is Timon and Norman Rodway is Apemantus. Damian Lewis play Alcibiades.
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The Winter’s Tale
- By: E.A. Copen
- Narrator: a full cast
- Length: 2 hours 52 minutes
- Publisher: Blackstone Publishing
- Publish date: January 01, 2006
- Language: English
Regular Price:Try for $0.0014.95 USDKing Leontes of Sicilia is seized by sudden and terrible jealousy of his wife Hermione, whom he accuses of adultery. He believes the child Hermione is bearing was fathered by his friend Polixenes, and when the baby girl is born he orders her to beKing Leontes of Sicilia is seized by sudden and terrible jealousy of his wife Hermione, whom he accuses of adultery. He believes the child Hermione is bearing was fathered by his friend Polixenes, and when the baby girl is born he orders her to be taken to some wild place and left to die. Though Hermione’s child escapes death, Leontes’ cruelty has terrible consequences. Loss paves the way for reunion, and life and hope are born out of desolation and despair.
One of the late romances in Shakespeare’s canon, this complex work is at times tragic, at times humorous, but always entertaining and enlightening.
Sinead Cusack plays Hermione, and Ciaran Hinda plays Leontes. Eileen Atkins is Paulina and Paul Jesson is Polixenes. Time the Chorus is played by Sir John Gielgud.
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The Comedy of Errors
- By: Pierre Arthur Laure
- Narrator: a full cast
- Length: 1 hours 27 minutes
- Publisher: Blackstone Publishing
- Publish date: January 01, 2006
- Language: English
Regular Price:Try for $0.0014.95 USDChaos and confusion mount to a crescendo in a wild and fast-paced comedy of mistaken identity, one of Shakespeare’s earliest plays. Young Antipholus of Syracuse is searching the world for his identical twin brother, separated from him atChaos and confusion mount to a crescendo in a wild and fast-paced comedy of mistaken identity, one of Shakespeare’s earliest plays.
Young Antipholus of Syracuse is searching the world for his identical twin brother, separated from him at birth. With him is his servant Dromio, who lost his twin brother at the same time. The pair arrive in Ephesus where, unbeknownst to them, their twins are living.
Antipholus of Syracuse is played by David Tennant, Antipholus of Ephesus by Brendan Coyle. Alan Cox and Jason O’Mara are the two Dromios, while Niamh and Sorcha Cusack play Adriana and Luciana.
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Pericles
- By: E.A. Copen
- Narrator: a full cast
- Length: 2 hours 16 minutes
- Publisher: Blackstone Publishing
- Publish date: January 01, 2006
- Language: English
Regular Price:Try for $0.0014.95 USDPericles, Prince of Tyre, undergoes a tyrant’s fury, storm, and shipwreck. He wins love and suffers loss, but what is lost may also be found. With the ancient poet Gower acting as narrator, we follow the adventures of Pericles from youngPericles, Prince of Tyre, undergoes a tyrant’s fury, storm, and shipwreck. He wins love and suffers loss, but what is lost may also be found.
With the ancient poet Gower acting as narrator, we follow the adventures of Pericles from young manhood to maturity. This strange and powerful tale of loss and recovery is the first in the group of romance comedies created by Shakespeare at the end of his dramatic career.
Sir John Gielgud plays Gower, and Nigel Terry is Pericles. Thaisa is played by Stella Gonet and Marina by Julie Cox.
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Measure for Measure
- By: Pierre Arthur Laure
- Narrator: Simon Russell Beale
- Length: 2 hours 28 minutes
- Publisher: Blackstone Publishing
- Publish date: January 01, 2006
- Language: English
Regular Price:Try for $0.0014.95 USDTelling his followers he is leaving the city on affairs of state, the Duke of Vienna appoints the puritanical Angelo to govern in his absence. Will Angelo prove as virtuous as he seems once power is in his hands? Roaming the city disguised as aTelling his followers he is leaving the city on affairs of state, the Duke of Vienna appoints the puritanical Angelo to govern in his absence. Will Angelo prove as virtuous as he seems once power is in his hands?
Roaming the city disguised as a friar, the duke looks on as Angelo’s lust for the virtuous Isabella sweeps him into the corruption he has so sternly condemned in others.
The duke’s manipulation at last produces a happy ending for this dark comedy, with its brilliant exploration of the themes of justice and mercy.
Roger Allam plays the duke and Simon Russell Beale is Angelo. Isabella is played by Stella Gonet.
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Love’s Labor’s Lost
- By: Pierre Arthur Laure
- Narrator: a full cast
- Length: 2 hours 26 minutes
- Publisher: Blackstone Publishing
- Publish date: January 01, 2006
- Language: English
Regular Price:Try for $0.0014.95 USDA play replete with puns and double-entendres, this is one of Shakespeare’s earliest and most lighthearted. The young king of Navarre and three of his courtiers have vowed to lock themselves away for three years of study and fasting, and toA play replete with puns and double-entendres, this is one of Shakespeare’s earliest and most lighthearted.
The young king of Navarre and three of his courtiers have vowed to lock themselves away for three years of study and fasting, and to forswear the company of women for this period. No sooner is their vow made than it is tested, however, as the princess of France and three of her ladies arrive in Navarre on a diplomatic mission. The young men fall instantly and hopelessly in love, and the tension between their vow and their passion forms the subject of this charming and sparkling early comedy.
Berowne is played by Alex Jennings and Rosaline by Emma Fielding. Samantha Bond is the princess, and Greg Wise the king of Navarre. Alan Howard plays Don Armado.
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Hamlet
- By: E.A. Copen
- Narrator: Simon Russell Beale
- Length: 3 hours 25 minutes
- Publisher: Blackstone Publishing
- Publish date: January 01, 2005
- Language: English
Regular Price:Try for $0.0014.95 USDACT IScene 1. The ghost of Old Hamlet, King of Denmark, has appeared to officers guarding the castle of Elsinore. When the apparition is witnessed by Horatio, friend of the Dead King’s son, he fears that it portends ill. He decides to tellACT IScene 1. The ghost of Old Hamlet, King of Denmark, has appeared to officers guarding the castle of Elsinore. When the apparition is witnessed by Horatio, friend of the Dead King’s son, he fears that it portends ill. He decides to tell young Hamlet, hoping that the ghost might reveal to him the cause of its restlessness.Scene 2. The dead king’s brother, Claudius, has assumed the crown and married the widowed Queen Gertrude. He dispatches emissaries to Norway where the king’s nephew Fortinbras is threatening Denmark with war. The King and Queen urge young Hamlet to cast off his dark mood. Once alone, the prince vents his violent grief at his father’s death and outrage at his mother’s “incestuous” remarriage. Wen Horatio tells Hamlet about the ghost, he too suspects foul play.Scene 3. Laertes warns his sister, Ophelia, not to take seriously Hamlet’s attentions because, being a prince, he is not free to make his own choices in matters of love. Scene 4. Hamlet and Horatio meet on the battlements. The ghost appears and beckons to Hamlet to follow him. Scene 5. The ghost describes to Hamlet how it was murdered by Claudius. It urges him to revenge the crime.
ACT II Scene 1. Polonius, a garrulous counsellor and father to Ophelia and Laertes, instructs Reynaldo to investigate the kind of life Laertes is leading in Paris. Ophelia describes Hamlet’s bizarre behavior to Polonius who attributes this to her recent rejection of him. Scene 2. The King and Queen ask Rosencrantz and Guildenstern, old friends of Hamlet, to discover the cause of the prince’s erratic behavior. The King of Norway has stopped Fortinbras’ preparations for war against Denmark. Polonius takes Hamlet’s scathing and capricious wit as proof of his insanity. Hamlet greets Rosencrantz and Guildenstern warmly, but becomes suspicious of their motives. He is, however, pleased to hear that a company of players has arrived at Elsinore. Once alone, he berates himself for his failure to undertake his revenge. He plans to have the players enact King Hamlet’s murder and to observe Claudius’ reaction as a way of ascertaining his guilt.
Act III Scene 1. Rosencrantz and Guildenstern have failed to uncover the reason for Hamlet’s behavior. Hamlet shocks Ophelia with his crude and bitter contempt for women and marriage. Their conversation is overheard by Claudius, who recognizes that it is not thwarted love that is responsible for Hamlet’s dangerous instability. He resolves to send him on a diplomatic mission to England to get him away from the court. Polonius suggests that Gertrude should persuade Hamlet to confide in her; he himself will eavesdrop on their conversation. Scene 2. Hamlet tells Horatio to watch Claudius during the play for signs of guilt. As a murder identical to that of King Hamlet is enacted, Claudius rises in fright and calls for lights, thus ending the performance. Hamlet is summoned to his mother’s closet and vows to “speak daggers to her, but use none.” Scene 3. Claudius orders Rosencrantz and Guildenstern to accompany Hamlet to England. Once alone he expresses agony at his dreadful crime. Hamlet comes upon him trying to pray, but desists from killing him on the grounds that, were Claudius to die in prayer, his soul might go to heaven rather than hell. Scene 4. Hamlet harangues Gertrude so violently that she cries out for help. Polonius responds from his hiding place and Hamlet, believing him to be Claudius, stabs through the arras, killing him. He then continues his furious indictment of Gertrude, until the ghost enters, reminding him of his mission. Having implored his mother to repent, he drags away Polonius’ body.
ACT IV Scene 1. Gertrude is now convinced of Hamlet’s madness and Claudius is determined that he should leave for England immediately. Scene 2. Rosencrantz and Guildenstern beg Hamlet to reveal the whereabouts of Polonius’ corpse. Scene 3. Hamlet speaks wildly, but when Claudius tells him he must set out for England immediately, he agrees. Left alone, Claudius confesses that he has plotted Hamlet’s death. Scene 4. Fortinbras is marching with his army to do battle over an unimportant piece of land. Hamlet compares his own wrongs, still unavenged, and resolves to take action at last. Scene 5. Ophelia, deranged with grief at her father’s death, comes to Claudius and Gertrude, singing distractedly. Laertes arrives, hot to avenge Polonius’ murder. Scene 6. Horatio receives a letter from Hamlet saying that he has been captured by pirates on his way to England and that they have returned him to Denmark. Scene 7. Claudius tells Laertes that he cannot punish Hamlet for Polonius’ murder because he is loved both by Gertrude and the people of Denmark. He persuades Laertes to wait until an “accidental” death can be arranged for Hamlet; a fencing match will be organized and the tip of Laertes’ sword will be dipped in poison. Gertrude announces that Ophelia has drowned herself.
ACT V Scene 1. A grave is being dug. Hamlet and Horatio arrive, and Hamlet jests with the gravedigger. The grave is Ophelia’s, and when her funeral procession arrives, Laertes jumps into the grave to bid his sister a last farewell, Hamlet follows, claiming that his love for Ophelia was greater than her brother’s; they fight. Claudius urges Laertes to bide his time patiently. Scene 2. Hamlet tells Horatio how, en route for England, he discovered Claudius’ plot to have him killed. Having forged an order for the deaths of Rosencrantz and Guildenstern, he escaped. Osric, a courtier, tells Hamlet of the proposed fencing match with Laertes; Hamlet agrees to take part. The match begins. Gertrude drinks poisoned wine meant by Claudius for Hamlet, should Laertes’ sword fail to kill him. Hamlet is wounded by the poisoned sword which, in the course of the scuffle, comes to his own hand; he wounds Laertes with it. Dying, Laertes confesses the plot. Hamlet stabs Claudius fatally with the poisoned sword, then dies, naming Fortinbras as his successor. Fortinbras arrives, claims the crown of Denmark, and orders a soldier’s funeral for Hamlet.
CASTHamlet: Simon Russell Beale / Ophelia: Imogen Stubbs / Gertrude: Jane Lapotaire / Claudius: Bob Peck / Polonius: Norman Rodway / Ghost, Gravedigger: Paul Jesson / Horatio: Alan Cox / Laertes: Damian Lewis / Rosencrantz: John McAndrew / Guildenstern: Clarence Smith / Player King: Clifford Rose / Fortinbras: Chook Sibtain / Marcellus, Osric: Nicholas Rowe / Cornelius, Reynaldo: Alex Boyd-Williams / Prologue, Lucianus, Doctor: Nicholas Murchie / Player Queen: Steven O’Neill / Bernardo: Alan Westaway / Francisco: Alex McSweeney / Voltemand: Nick Monu
Director: Clive Brill / Composer: Dominique Le Gendre / Production coordinators: Polly Coles and Charlotte Harvey / Sound engineer: Wilfredo Acosta / Producers: Bill Shepherd and Tom Treadwell
TRACK LISTDisc 1Track 1: Act I, Scene iTrack 2: Act I, Scene iiTrack 3: Act I, Scene iiiTrack 4: Act I, Scene ivTrack 5: Act I, Scene vTrack 6: Act II, Scene iTrack 7: Act II, Scene ii (up to line 85)
Disc 2Track 1: Act II, Scene ii (from line 85)Track 2: Act III, Scene iTrack 3: Act III, Scene iiTrack 4: Act III, Scene iiiTrack 5: Act III, Scene iv
Disc 3Track 1: Act IV, Scene iTrack 2: Act IV, Scene iiTrack 3: Act IV, Scene iiiTrack 4: Act IV, Scene ivTrack 5: Act IV, Scene vTrack 6: Act IV, Scene viTrack 7: Act IV, Scene viiTrack 8: Act V, Scene iTrack 9: Act V, Scene ii
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As You Like It
- By: E.A. Copen
- Narrator: a full cast
- Length: 2 hours 27 minutes
- Publisher: Blackstone Publishing
- Publish date: January 01, 2005
- Language: English
Regular Price:Try for $0.0014.95 USDACT IScene 1. Orlando, the youngest son of Sir Rowland de Boys, has been kept “rustically at home” by his older brother, Oliver; he has been denied his inheritance and any formal education. When Orlando demands his birthright, theACT IScene 1. Orlando, the youngest son of Sir Rowland de Boys, has been kept “rustically at home” by his older brother, Oliver; he has been denied his inheritance and any formal education. When Orlando demands his birthright, the brothers come to blows. Charles the Wrestler describes how the old duke has been banished by his younger brother Frederick and has gone to live in the Forest of Arden. His daughter Rosalind has stayed at court with Celia, Frederick’s daughter. Hearing that Charles and Orlando are to wrestle the following day, Oliver lies to Charles, claiming that Orlando intends, if necessary, to resort to foul play in order to win the fight.Scene 2. The courtier Le Beau urges Rosalind and Celia to watch the wrestling. They try to persuade the youthful Orlando not to fight, but he is determined to go ahead and succeeds in beating Charles. Frederick congratulates the victor but is displeased to learn of his parentage. Le Beau suggest that, the duke being so unpredictable, Orlando would be wise to leave the court. Orlando, who has fallen for the “heavenly Rosalind,” follows his advice.Scene 3. Rosalind is telling Celia of her love for Orlando when Duke Frederick enters and banishes her from the court. Celia insists on accompanying her cousin and they decide to travel in disguise: Rosalind as a youth called Ganymede and Celia as his sister, Aliena. Their sole companion is to be the court fool Touchstone.
ACT IIScene 1. Duke Senior extols the joys of the hard, rustic life. A lord describes the melancholy Jaques’ distress at the brutality of the hunt.Scene 2. Duke Frederick has learnt of the flight of Celia and Rosalind.Scene 3. Orlando is warned by Adam, his father’s aged servant, that Oliver has resolved to murder him. Adam urges Orlando to escape, offering him his savings and his service.Scene 4. Rosalind, Celia, and Touchstone are now in the Forest of Arden, where they overhear Silvius telling the shepherd Corin of his unrequited love for the scornful Phebe. The tired travelers ask for help and decide to buy Corin’s cottage and sheep.Scene 5. Jaques, Amiens, and others sing together.Scene 6. When Adam becomes faint with hunger and exhaustion, Orlando promises to find him food.Scene 7. Jaques eulogizes Touchstone’s wisdom. As the exiled courtiers prepare to eat, Orlando enters brandishing his sword and demanding food. The Duke disarms him by graciously inviting him to eat. Whilst Orlando goes back to fetch Adam, Jaques ponders on the seven stages of life, from infancy to senility. The duke is delighted to learn that Orlando is the son of “the good Sir Rowland.”
ACT IIIScene 1. Duke Frederick commands Oliver to find his missing brother and “bring him dead or living.”Scene 2. Orlando wanders through the forest hanging verses in praise of Rosalind upon the trees. Rosalind derides the clumsy style until she realizes that their author is Orlando. When he arrives with Jaques, Rosalind (dressed as the boy Ganymede) draws him out on the subject of his love. She promises to cure him of his passion if he comes to her daily and woos her as if she were Rosalind.Scene 3. Touchstone proposes to Audrey. Jaques intervenes, persuading them against being married by the ill-educated priest Sir Oliver Mar-Text.Scene 4. Rosalind is devastated that Orlando has not come to woo her as he promised.Scene 5. Silvius woos Phebe ardently, but she rebuffs his advances. When Rosalind accuses the shepherdess of pride Phebe is instantly infatuated with her/Ganymede. She decides to write to Ganymede and Silvius agrees to deliver the letter.
ACT IVScene 1. Rosalind is scornful of Jaques’ melancholy, insisting “I had rather have a fool to make me merry than experience to make me sad.” When Orlando arrives an hour late, she tells him that this is no sign of true love. Once alone with Celia again, she confesses the depth of her passion.Scene 2. Jaques gives the exiled lords a hero’s welcome when they return from the hunt with a deer.Scene 3. Silvius delivers Phebe’s stern letter to Rosalind who pretends not to believe that a woman could have written such words. Oliver enters carrying a bloody cloth and recounts how Orlando saved his life by killing the hungry lioness poised to attack him. The brothers are now reconciled and Oliver has been welcomed by the exiled duke. Rosalind swoons at the sight of the blood.
ACT VScene 1. Touchstone dismisses William, a rival for Audrey’s affections.Scene 2. Oliver and Celia are in love and plan to marry the following day. When Orlando tells Rosalind “how bitter a thing it is to look into happiness through another man’s eyes,” she claims to know a magician who will unite him with his beloved.Scene 3. Touchstone and Audrey are to marry the next day.Scene 4. Rosalind reveals her identity to Orlando and her father, as Hymen, the god of marriage, looks on. All four couples are now to be married. Jaques de Boys, Sir Rowland’s second son, arrives with news of Duke Frederick’s conversion; having met a hermit in the forest, he has resolved to restore the dukedom to his brother and to retire from the world. As the celebrations continue, Jaques the courtier decides to join Frederick in his religious life.
CASTRosalind: Niamh Cusack / Orlando: Stephen Mangan / Jaques: Gerard Murphy / Touchstone: Clarence Smith / Celia: Victoria Hamilton / Silvius: Ian Pepperell / Phebe: Carolyn Backhouse / Duke Senior: Philip Voss / Duke Frederick: Hugh Ross / Oliver: Jonathan Tafler / Audrey: Sarah-Jane Holm / Adam: John Hollis / Amiens: Chook Sibtain / Le Beau: Sean Baker / Corin: Raymond Bowers / Charles the Wrestler: Matthew Morgan / Lord: Mark Lambert / Jaques de Boys: Duncan Bell
Director: Clive Bell / Composer: Dominique Le Gendre / Production coordinators: Polly Coles and Charlotte Harvey / Sound Engineer: Wilfredo Acosta / Producers: Bill Shepherd and Tom Treadwell
TRACK LISTDisc 1Track 1: Act I, Scene iTrack 2: Act I, Scene iiTrack 3: Act I, Scene iiiTrack 4: Act II, Scene iTrack 5: Act II, Scene iiTrack 6: Act II, Scene iiiTrack 7: Act II, Scene ivTrack 8: Act II, Scene vTrack 9: Act II, Scene viTrack 10: Act II, Scene viiTrack 11: Act III, Scene iTrack 12: Act III, Scene ii (up to line 240)
Disc 2Track 1: Act III, Scene ii (from line 241)Track 2: Act III, Scene iiiTrack 3: Act III, Scene ivTrack 4: Act III, Scene vTrack 5: Act IV, Scene iTrack 6: Act IV, Scene iiTrack 7: Act IV, Scene iiiTrack 8: Act V, Scene iTrack 9: Act V, Scene iiTrack 10: Act V, Scene iiiTrack 11: Act V, Scene ivTrack 12: Epilogue
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Cliff Weitzman
Cliff Weitzman is a dyslexia advocate and the CEO and founder of Speechify, the #1 text-to-speech app in the world, totaling over 100,000 5-star reviews and ranking first place in the App Store for the News & Magazines category. In 2017, Weitzman was named to the Forbes 30 under 30 list for his work making the internet more accessible to people with learning disabilities. Cliff Weitzman has been featured in EdSurge, Inc., PC Mag, Entrepreneur, Mashable, among other leading outlets.
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