THE BARD BREAKS OUT
explained that in the beginning Will is battling to find his identity as writer. Then he finds his muse, Viola, and is able to take ownership of who he is and shed upper-class pretensions.
“Under Greg’s direction, we went with a mix between a London accent and a standard RP (received pronunciation) British accent. Robyn Scott (Shakespeare in Love voice/dialect coach) was instrumental in walking me through the subtleties of the accent.
“We needed Will to be rougher around the edges. He didn’t grow up in a wealthy family – like Viola – and in my head spent time on the streets and in and around the city looking for inspiration.
“The tavern is a prime example where he saw this wonderful mix of characters. And so began his creativity, drawing from all walks of life and thus influencing his accent. As I understand it, the London accent is more the street slang – a relaxed version of the British accent.”
Received pronunciation – also known as the queen’s or king’s English – is the pronunciation of English many of us associate with Shakespearean spoken word. Shakespeare plays with dialect and accents in his plays.
The noble so-called “high-born classes” tend to speak in la-di-dah English – received pronunciation. In the Bard’s plays, the “common’ people” (those not high born) tend to not speak in verse and reflect the language of the street.
Beyond language and words, how we speak convey layers of where we are from. After more than 20 years in Cape Town, my daughters rag me that I have a Johannesburg accent. I am flummoxed as to what that is. But I frequently ask people if they are from Joburg. They ask me: “How do you know?” I say: “I recognise your accent”.
I was riveted watching Will reverting to street talk – his own argot, another narrative. This plays against the high-born Viola and the players in the theatre and tavern. Robyn Scott’s Queen Elizabeth, with her shrilling diction, is regal and vulgar – even more delicious this time round. The ensemble is terrific. The hilarity and camaraderie in the tavern and theatre where everyone can be themselves is magnificent. Kudos to Karvellas for his direction, as he deftly plays with the exits and entrances and masterful set changes between the court of the queen, boudoir of Viola, theatre and tavern. This is definitely not the film transposed on stage. It is a magical theatrical ride.
There are no plans to tour this production. It’s another good reason to visit Cape Town.
Shakespeare In Love is on in the Fugard Theatre until October 6, Tuesday to Friday at 8pm, Saturday at 3pm and 8pm, Tickets are R150 to R350. There will be Sunday matinee performances at 3pm on September 16, 23 and 30. Book at the Fugard Theatre box office, 021 461 4554, or at www.thefugard.com.