Janet Suzman – författare

"A thoughtful and considered kick up the arse to conspiracy theorists and to patriarchy" – Michael Boyd, Artistic Director RSCCleopatra, La Pucelle, Ophelia, Shaw’s St. Joan and Ibsen’s Hedda – a handful of seminal roles for women in the classical canon. Janet Suzman has played them all and directed some. Here she examines their complexity and explores why only Cleopatra has an independence that allows her to speak to modern women. None of these, regrettably, matches up to a Hamlet, but as she is grateful for the parts he did write, Suzman feels a lightly-barbed attack on those who doubt Shakespeare’s authorship is way overdue. She also takes issue with received ideas on boy-actors playing mature women in Shakespeare’s company, and reflects on how female characters in classical drama have not been on a level with their male counterparts. Today, on TV, film and the stage, this remains the case. Not Hamlet but Hamlette, please.

Desire and duty collide in Shakespeare’s captivating tragedy of politics, passion and power. Two charismatic leaders, Mark Antony of Rome and Cleopatra, Queen of Egypt, are caught in an all encompassing love that threatens the Empire. Rome will do all it can to pull them apart. Or it will destroy them both. This classic Shakespeare tale is edited by Dame Janet Suzman, making this an authoritative edition. As she says in her new book Not Hamlet: Meditations on the Frail Position of Women in Drama which studies the role of and for women in Shakespeare’s canon, Suzman knows this play better than anyone else in the world, having played Cleopatra twice and having now directed the play twice.

"A thoughtful and considered kick up the arse to conspiracy theorists and to patriarchy" – Michael Boyd, Artistic Director RSCCleopatra, La Pucelle, Ophelia, Shaw’s St. Joan and Ibsen’s Hedda – a handful of seminal roles for women in the classical canon. Janet Suzman has played them all and directed some. Here she examines their complexity and explores why only Cleopatra has an independence that allows her to speak to modern women. None of these, regrettably, matches up to a Hamlet, but as she is grateful for the parts he did write, Suzman feels a lightly-barbed attack on those who doubt Shakespeare’s authorship is way overdue. She also takes issue with received ideas on boy-actors playing mature women in Shakespeare’s company, and reflects on how female characters in classical drama have not been on a level with their male counterparts. Today, on TV, film and the stage, this remains the case. Not Hamlet but Hamlette, please.