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Sweet Tea Shakespeare Cocktail Hours: Knight & Day

Assistant Artistic Director Claire F. Martin and Company Member Jessie Wise chat about the upcoming release of Sweet Tea’s filmed production of KNIGHT’S TALE (Shakespeare’s TWO NOBLE KINSMEN) and what the future looks like in the wake of the 2020 election.

Welcome to The Sweet Tea Shakespeare Hours, where we spend time well by spending it together. Think of the Hours as a way to pass the time around a common table of ideas. We’re a community seeking to delight in story, song, and stagecraft even as we confront a world of change and challenge. You can find our whole catalog at sweetteashakespeare.com

The Hours are only possible because of regular support from our monthly sustainers and patrons. Please consider making a monthly pledge on Patreon. With options beginning at just $5 and plenty of great perks, you’ll find a great way to join the STS family – patreon.com/sweetteashakes

You can always contact The Sweet Tea Shakespeare Hours at [email protected]

JOIN our Facebook community here:https://www.facebook.com/groups/sweetteashakes/

Send in a voice message: https://anchor.fm/sweetteashakes/message
Support this podcast: https://anchor.fm/sweetteashakes/support

Sweet Tea Shakespeare Cocktail Hours: Self-Care & Such

Join Claire Martin and Jeremy Fiebig as they talk election week and self-care. This episode was recorded the afternoon before the 2020 United States general election.

Welcome to the Sweet Tea Shakespeare Hours, where we spend time wellby spending it together. Think of the Hours as a way to pass the time around a common table of ideas. We’re a community seeking to delight in story, song, and stagecraft even as we confront a world of change and challenge.

You can find our whole catalogue here.

The Hours are only possible because of regular support from our monthly sustainers and patrons. Please consider making a monthly pledge on Patreon. With options beginning at just $5, and plenty of great perks, you’ll find a great way to join the STS family.

You can always contact the Sweet Tea Shakespeare Hours at [email protected]

JOIN our Facebook community here.

The show is produced by Claire Martin and Jeremy Fiebig and edited by Ashanti Bennett.

Jen Pommerenke and Julie Schaefer also assisted with this episode.

Consider following us on social media: Facebook, Twitter, Instagram, YouTube, Twitch

This project is supported by the Arts Council in part bycontributions from businesses and individuals, and through grants from the City of Fayetteville, Cumberland County and the North Carolina Arts Council, a division of the Department of Natural & Cultural Resources.

Send in a voice message: https://anchor.fm/sweetteashakes/message
Support this podcast: https://anchor.fm/sweetteashakes/support

After Hours | Protests & Politics, Twitter is Awful, and Macbeth

Rob and Jeremy recorded this episode the day after widespread protests began in earnest following the murder of George Floyd. In the episode, we discuss these protests, plus how Twitter is awful, and we somehow tie in Macbeth.

After Hours is part of The Sweet Tea Shakespeare Hours. Political views expressed are that of the individuals speaking.

Contact us at [email protected]

Make a monthly, sustaining pledge on Patreon to support the work of Sweet Tea Shakespeare and its artists. We are a 501(c)3 charitable organization.

Sweet Tea Shakespeare: Patreon: patreon.com/sweetteashakes 

The show is produced by Claire Martin and Jeremy Fiebig. It was edited by Ashanti Bennett.

Our Director of Engagement is Ashanti Bennett. Jen Pommerenke also assisted with this episode.

Facebook: https://www.facebook.com/sweetteashakes

Twitter: https://twitter.com/sweetteashakes 

Instagram: https://www.instagram.com/sweetteashakes

YouTube: https://www.youtube.com/user/SweetTeaShakespeare

Twitch: https://www.twitch.tv/sweetteashakes

This project is supported by the Arts Council in part by contributions from businesses and individuals, and through grants from the City of Fayetteville, Cumberland County and the North Carolina Arts Council, a division of the Department of Natural & Cultural Resources.

After Hours | Reflecting on a Week of Protests, Trump’s Shakespearean Drama, A Touch of Succession, and JK Rowling

Rob and Jeremy recorded this episode after a week of widespread protests and Donald Trump gassing clergy for a photo op.

After Hours is part of The Sweet Tea Shakespeare Hours. Political views expressed are that of the individuals speaking.

Contact us at [email protected]

Make a monthly, sustaining pledge on Patreon to support the work of Sweet Tea Shakespeare and its artists. We are a 501(c)3 charitable organization.

Sweet Tea Shakespeare: Patreon: patreon.com/sweetteashakes 

The show is produced by Claire Martin and Jeremy Fiebig.

Our Director of Engagement is Ashanti Bennett. Jen Pommerenke also assisted with this episode.

Facebook: https://www.facebook.com/sweetteashakes

Twitter: https://twitter.com/sweetteashakes 

Instagram: https://www.instagram.com/sweetteashakes

YouTube: https://www.youtube.com/user/SweetTeaShakespeare

Twitch: https://www.twitch.tv/sweetteashakes

This project is supported by the Arts Council in part by contributions from businesses and individuals, and through grants from the City of Fayetteville, Cumberland County and the North Carolina Arts Council, a division of the Department of Natural & Cultural Resources.

After Hours | This, That, & HAMILTON

Rob and Jeremy discuss the cultural phenomenon that is HAMILTON. When the musical exploded onto Broadway in 2015, it took a late-Obama US by storm. But what does the show mean in 2020?

After Hours is part of The Sweet Tea Shakespeare Hours. Political views expressed are those of the individuals speaking.

Contact us at [email protected]

Make a monthly, sustaining pledge on Patreon to support the work of Sweet Tea Shakespeare and its artists. We are a 501(c)3 charitable organization.

Sweet Tea Shakespeare: Patreon: patreon.com/sweetteashakes 

The show is produced by Claire Martin and Jeremy Fiebig.

Our Director of Engagement is Ashanti Bennett.

Jen Pommerenke also assisted with this episode.

Facebook: https://www.facebook.com/sweetteashakes

Twitter: https://twitter.com/sweetteashakes 

Instagram: https://www.instagram.com/sweetteashakes

YouTube: https://www.youtube.com/user/SweetTeaShakespeare

Twitch: https://www.twitch.tv/sweetteashakes

This project is supported by the Arts Council in part by contributions from businesses and individuals, and through grants from the City of Fayetteville, Cumberland County and the North Carolina Arts Council, a division of the Department of Natural & Cultural Resources.

Whose Tragedy Is It Anyway?

By Tony Tambasco

Sitting in my tenth-grade English class, I can remember the lesson on Julius Caesar was more or less focused toward proving the point that Julius Caesar was, in fact, all about Brutus. It didn’t seem right to me then: this was Shakespeare, after all, whom in those days would more properly be written SHAKESPEARE, and you would almost think a guy like that would know what he was doing when he gave the play a certain title (which, for those keeping track, in the First Folio, the earliest printed source for this work, is given as “THE TRAGEDIE OF IVLIVS CÆSAR.”).

My English teacher, and so many others, are to be forgiven for this, though, as centuries of tradition have focused on Brutus as the center of the play. He has the most lines, to be sure, and the idea that the most important character in the play is the one with the most lines is hard to shake, but Shakespeare seems pretty clear that this is Caesar’s tragedy in the same way that King Lear is Lear’s, Hamlet is Hamlet’s, and Macbeth is Macbeth’s.  To put it another way, when was the last time you sat there watching Macbeth hoping that the tyrant and child-murderer would come out on top?

Brutus has been one of the roles that top actors have tackled with vigor in their centuries; Edwin Booth, son of Junius Brutus Booth, is probably the most famous actor in that role in this country prior to the twentieth-century, when Orson Welles would re-define Julius Caesar as Death of a Dictator, and his anti-fascist creed would color most productions that followed. Brutus not only had the most lines, but was also the tragic hero dying in service of the cause of freedom, liberty, and the American way.

It’s a story as beautiful as it is wrong.

The republic of Rome that Shakespeare gives us in Julius Caesar is a far cry from the American way. It is a government run by a privileged few who exploit the petty passions of the commoners for wealth and power. At rise, Shakespeare’s Rome is a place where elections determine who governs, but only the sons of wealth and privilege are on the ballot, and political alliances are kept within families. It is a bloated and diseased state where freedoms are weighed down by the tallow of economic oligarchy.

No, wait, on second thought, that’s pretty close to America in the 21st century. Sorry.

The real tragedy of Julius Caesar, from where I sit, is that there is no way out of this mess. Caesar can fix things, but he can only do it the way he knows how, and that means infringing on the privilege of the few, who, fearing their freedoms will be reduced in the new regime, react the only way they know how: by killing the man they fear will oppose them. The people are hopelessly caught in the middle of this, and while Antony and Brutus inflame their passions, they are ultimately helpless to even form an opinion about Rome’s inevitable slide into imperial government.

Whose tragedy is Julius Caesar‘s? Ours.

Shakespeare, writing without the benefit of the Enlightenment, takes only the position that assassination leads to bloodshed, and doesn’t think much of the common people, but we know better, or at least we should. As politics in America is increasingly governed by the whims of a duopoly of corporations and wealthy individuals, we ought all look to Julius Caesar as a warning from the year 1599: we are citizens of a free republic, and if we allow smooth-talking rhetors to use our passions to lead us by the nose against our own interests, we will suffer the same fate.

And we will deserve it. The only ones we have to blame are ourselves.