Which plays cross­over be­yond this mor­tal realm, and how?

SFX: The Sci-Fi and Fantasy Magazine - - Shakespeare -

Richard II ( 1592) A sleep­less Dick has plot­ted his way onto the throne, but finds him­self haunted by his many vic­tims on the night be­fore his death on Bos­worth field.

A Mid­sum­mer Night’s Dream ( 1595) The wed­ding of Greek hero Th­e­seus is mag­i­cally bombed by a dis­pute be­tween the King and Queen of the Fairies, in a trou­ble­some tiff in­volv­ing su­per­hu­man gob­lins and ass mu­ta­tion.

Julius Cae­sar ( 1600)

In an echo of Richard III’s ghostly para­noia, poor old Bru­tus has only just come to terms with help­ing to turn Cae­sar into Swiss cheese, when his old boss re­turns to pre­dict his death.

Ham­let ( 1601) The hero may have been con­tent to just mope around Elsi­nore if Shake­speare’s most fa­mous play didn’t be­gin with an earth­crack­ing ap­pear­ance from his dead father, bark­ing some un­pleas­ant truths.

Mac­beth ( 1606) Mac­beth glo­ries in the mad devices of a trio of witches and their mis­tress He­cate, though whether Ban­quo’s bloody come­back is part of their be­witch­ing of the King or an early zom­bie out­break re­mains un­cer­tain.

Cym­be­line ( 1609) One of the key plot points in this Celtic his­tory epic sees the de­spair­ing hero’s dead fam­ily sum­mon up Jupiter him­self to de­liver a happy end­ing, deus ex machina per­son­i­fied.

The Win­ter’s Tale ( 1610) As if the con­clud­ing se­quence where Leontes’ long- as­sumed- dead wife is brought back to life from statue form wasn’t enough, Time him­self de­liv­ers a lengthy speech to let the au­di­ence know that 16 years have passed.

The Tem­pest ( 1611) Shake­speare turns top­i­cal trop­i­cal ship­wreck news into a fully re­alised vi­sion of an alien land far, far away, with its own mythol­ogy, races and mag­i­cal laws.

How sci- fi? David Ten­nant and Pa­trick Ste­wart in Ham­let.

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