Margaret of Anjou: Shakespeare’s Adapted Heroine

Smith, Charlene V.

doi:10.1007/978-3-319-74518-3_24

Charlene V. Smith⁵

Part of the book series: Queenship and Power ((QAP))

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Abstract

Though appearing in four plays attributed to Shakespeare, Margaret of Anjou then disappeared almost completely from the English-speaking stage for 350 years. After World War II, several landmark cyclical productions in England rescued the three Henry VI plays from obscurity, proving their theatrical viability. The success of these productions helped inspire a growing trend of single-play adaptations centered on Margaret. Considered expressly feminist works by their creators, these adaptations reveal a canonical female character for women to perform on the magnitude of King Lear. Seeing the great role of Margaret as having been obscured by the economic and political considerations of the performance industry, modern writers and directors purposefully use adaptation in order to celebrate Shakespeare’s Margaret.

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Notes

1.
For more information on this production, see Foster Hirsch, “The New York Shakespeare Festival—1970,” Shakespeare Quarterly 21, no. 4 (October 01, 1970): 477–80.
2.
Helen E. Maurer, Margaret of Anjou: Queenship and Power in Late Medieval England (Woodbridge, UK: Boydell, 2003), vii.
3.
Maurer, Margaret of Anjou, vii.
4.
Margaret Webster, Shakespeare without Tears (New York: Capricorn, 1975), 163; William Shakespeare, King Henry VI Part 3, eds. John D. Cox and Eric Rasmussen, Arden 3rd Series (London: Bloomsbury, 2001), 5; Ashley Smith, email message to the author, February 18, 2014.
5.
Anna Kamaralli, Shakespeare and the Shrew: Performing the Defiant Female Voice, Palgrave Shakespeare Series (Houndmills, Basingstoke: Palgrave Macmillan, 2012), 32, Kindle.
6.
Stuart Hampton-Reeves and Carol Chillington Rutter, The Henry VI Plays, Shakespeare in Performance (Manchester: Manchester University Press, 2006), 23.
7.
Robert Potter, “The Rediscovery of Queen Margaret: The Wars of the Roses, 1963,” New Theatre Quarterly 4, no. 14 (May 1988): 106.
8.
Queen Margaret (Robert Potter, 1977, 2001); Vain Flourish of My Fortune (Joan Bell, 1979); The Red Rose (Tom Loback, 1996); The Falcon’s Pitch (Jeffrey Sweet, 1998); Margaret (Julienne Kim, 2000); Queen Margaret (Ralph Carhart, 2001); Prophetess (Scott Sharplin, 2004); Queen Margaret: Tiger’s Heart Wrapped in a Woman’s Hide (Megan McDonough, 2005); The Tragical History of Margaret, Queen of England (John Michael MacDonald, 2006); The Hystory of Queen Margaret (Corrie Zoll, 2007); Queen Margaret (Jennifer Dick, 2010); Margaret: A Tyger’s Heart (Michael Sexton, 2011); Margaret: A Tiger’s Heart (Dave Benger, 2011); Rose Mark’d Queen (Devin Brain, 2011); Queen Undaunted: Margaret of Anjou (Jinny Webber, 2012); In Time of Roses (Ashley Smith, 2013); Margaret I (Elyzabeth Gorman, 2013, 2016, formerly called The Margaret Project); Queen Margaret (Tony Wright, 2013); Queen Margaret (Charles King, 2015); The Life and Death of Queen Margaret (Dan Morbyrne and Toby Vera Bercovici, 2016); Margaret of Anjou (Elizabeth Schafer and Philippa Kelly, 2016); Shakespeare’s Rose Queen (Brian Elerding, 2016); Margaret (Kristine Ayers, 2016); Queen Margaret (Jemma Levy, 2016); Margaret of Anjou (Lauren Jansen-Parkes, 2016). At least three modern original plays, inspired by Shakespeare, but not specifically adapted from the First Tetralogy, also include Margaret as a character: The Queens, by Canadian playwright Normand Chaurette; Her Majesty the King by Sarah Overman, produced by Dramahaus in New York City in 2006; and Margaret of Anjou, written by Thomas H. Gilmore in 1973 as part of his Master of Arts thesis at California State University, Fullerton.
9.
Peter Widdowson, “‘Writing Back’: Contemporary Re-visionary Fiction,” Textual Practice 20, no. 3 (2006): 505–6, quoted in Martha Jane Kidnie, Shakespeare and the Problem of Adaptation (London: Routledge, 2009), 67.
10.
Sweet, conversation with author, December 30, 2012.
11.
Sharplin, conversation with author, January 11, 2013.
12.
“Shakespeare’s Rose Queen,” Ensemble Shakespeare Theater (website), accessed April 4, 2017, http://www.ensembleshakes.org/rose-queen-ticket-page.
13.
John Crowne’s The Misery of Civil War (1680) and Henry the Sixth, the First Part (1681), Ambrose Philips’ Humfrey Duke of Gloucester (1723), Theophilus Cibber’s An Historical Tragedy of the Civil Wars in the Reign of King Henry VI (1723), and John Herman Merivale’s Richard, Duke of York (1817). Though Margaret is a character in these adaptations, these adapters, as evident from the titles, focused on other characters and plotlines. For more information, see Shakespeare Adaptations from the Restoration: Five Plays, ed. Barbara A. Murray (Madison, NJ: Fairleigh Dickinson University Press, 2005) and Don-John Dugas, Marketing the Bard: Shakespeare in Performance and Print, 1660–1740 (Columbia: University of Missouri Press, 2006).
14.
Quoted in Richard Pearson, A Band of Arrogant and United Heroes: The Story of the Royal Shakespeare Company Production of The Wars of the Roses (London: Adelphi Press, 1990), 48; Agate, Brief Chronicles: A Survey of the Plays of Shakespeare and the Elizabethans in Actual Performance (New York: Benjamin Blom, 1971), 115.
15.
Warren Chernaik, The Cambridge Introduction to Shakespeare’s History Plays (Cambridge: Cambridge University Press, 2009), 46.
16.
Potter, “Rediscovery of Queen Margaret,” 105.
17.
Barry Jackson, “On Producing Henry VI,” in Shakespeare Performance, ed. Catherine M.S. Alexander, Cambridge Shakespeare Library 3 (Cambridge: Cambridge University Press, 2003), 17.
18.
Peggy Ashcroft, “King Henry VI Parts 1, 2, and 3,” in Introductions to Shakespeare: Being the Introductions to the Individual Plays in the Folio Society Edition: 1950–76, ed. Charles Ede (London: M. Joseph, 1978), 22.
19.
Robert Shaughnessy, Representing Shakespeare: England, History and the RSC (New York: Harvester Wheatsheaf, 1994), 39.
20.
The Oregon Shakespeare Festival is America’s oldest Shakespeare festival; they celebrated their 75th anniversary in 2010. In those years, the company has fully produced Shakespeare’s canon (as it was currently defined) three times. Colorado Shakespeare Festival completed the canon in 1975; the NYSF in 1997; the Atlanta Shakespeare Company in 2011; Cincinnati Shakespeare Company in 2014; the American Shakespeare Center in Staunton, VA, in 2014; and the Utah Shakespeare Festival is in the midst of a project to perform the canon between 2012 and 2023.
21.
Shaughnessy, Representing Shakespeare, 52.
22.
Hampton-Reeves and Rutter, Henry VI Plays, 81.
23.
Hampton-Reeves and Rutter, Henry VI Plays, 3.
24.
Robert Gore-Langton, “Cutting and Thrusting: The Royal Shakespeare Company is Rewriting the Bard,” The Independent (London, England), September 29, 1988, LexisNexis Academic.
25.
For a detailed discussion, see Terence Schoone-Jongen, Shakespeare’s Companies: William Shakespeare’s Early Career and the Acting Companies, 1577–1594 (Aldershot: Ashgate Publishing, 2008). Most recently, the 2016 edition of The Oxford Shakespeare credits Christopher Marlowe as co-author of 1 Henry VI.
26.
For more information see Edward Burns’ introduction to King Henry VI Part 1, ed. Edward Burns, Arden 3rd Series (London: Bloomsbury, 2000).
27.
Pearson, Band of Arrogant, 79; Barton and Hall, Wars of the Roses, vii.
28.
T.J. King, Casting Shakespeare’s Plays: London Actors and Their Roles, 1590–1642 (Cambridge: Cambridge University Press, 2009), 159–60.
29.
King, Casting, 148.
30.
King, Casting, 155.
31.
King, Casting, 155.
32.
Judith Hinchcliffe, King Henry VI, an Annotated Bibliography (New York: Garland, 1984), xv.
33.
H.R. Coursen, “Theme and Design in Recent Productions of Henry VI,” in Henry VI: Critical Essays, ed. Thomas Pendleton (New York: Routledge, 2001), 215.
34.
Shakespeare around the Globe: A Guide to Notable Postwar Revivals, ed. Samuel L. Leiter (New York: Greenwood Press, 1986), 235.
35.
David Riggs, Shakespeare’s Heroical Histories: Henry VI and Its Literary Tradition (Cambridge, MA: Harvard University Press, 1971), 100.
36.
Dessen, Rescripting Shakespeare, 170–1.
37.
Gary Taylor, Reinventing Shakespeare: A Cultural History, from the Restoration to the Present (New York: Weidenfeld & Nicolson, 1989), 22.
38.
Russ McDonald, “Peggy of Anjou,” in Women Making Shakespeare: Text, Reception, Performance, eds. Gordon McMullan, Lena Cowen Orlin, and Virginia Mason Vaughan (London: Bloomsbury, 2014), 263.
39.
“Britain’s Peggy Ashcroft Dies at 83,” Pantagraph (Bloomington, IL), June 15, 1991, Factiva.
40.
Nicholas Grene, Shakespeare’s Serial History Plays (Cambridge: Cambridge University Press, 2002), 33.
41.
Mary Clarke, Shakespeare at the Old Vic: Hamlet, King Henry VI, Parts I, II and III. Measure for Measure, A Midsummer Night’s Dream, King Lear, Twelfth Night, King Henry VIII (London: Hamish Hamilton, 1958).
42.
Brantley, “Battles for the Throne at a Galloping Pace,” New York Times, December 19, 1996, Factiva.
43.
Richardson’s mother, Vanessa Redgrave, also played Margaret of Anjou earlier in her career.
44.
Shaughnessy, Representing Shakespeare, 38.
45.
Barbara Hodgdon, “Making It New: Katie Mitchell Refashions Shakespeare-History,” in Transforming Shakespeare: Contemporary Women’s Re-visions in Literature and Performance, ed. Marianne Novy (New York: St. Martin’s Press, 1999), 25.
46.
Hodgdon, “Making It New,” 14.
47.
Cox and Rasmussen, “Introduction,” 31.
48.
Notably, Jane Howell directed films of all three parts of Henry VI and Richard III for the BBC’s The Shakespeare Plays. In a para-textual move, Jane Howell brought Margaret back for the final moments of her film of Richard III, “conclud[ing] the sequence with a long pan up a stack of dead, maimed, shirtless bodies to wild-haired Margaret, a Queen of Death, who sits atop the pile laughing and cradling the mangled body of Richard”; Susan Willis, The BBC Shakespeare Plays: Making the Televised Canon (Chapel Hill: University of North Carolina, 1991), 179.
49.
Anna Kamaralli, “Daunted at a Woman’s Sight?: The Use and Abuse of Female Presence in Performances of the Histories as Cycles,” in Shakespeare’s English Histories and Their Afterlives, ed. Peter Holland, Shakespeare Survey 63 (Cambridge: Cambridge University Press, 2010), 174–5.
50.
Randall Martin, “‘A Woman’s Generall, What Should We Feare?’: Queen Margaret Thatcherized in Recent Productions of 3 Henry VI,” in Shakespeare and His Contemporaries in Performance, ed. Edward J. Esche (Aldershot: Ashgate, 2000), 321–38.
51.
William Shakespeare, King Henry VI Part 2, ed. Ronald Knowles, Arden 3^rd Series (London: Bloomsbury, 2001), 27.
52.
Chernaik, Cambridge Introduction, 26.
53.
Martin, “‘A Woman’s Generall,’” 321.
54.
Kamaralli, “Daunted at a Woman’s Sight,” 172.
55.
“Pioneer Valley Theatre News October 29, 2015,” Pioneer Valley Theatre (blog), http://www.pioneervalleytheatre.com/2015/10/pioneer-valley-theatre-news-october-29.html.
56.
Elerding, “The Rose Queen,” Hometown Pasadena, February 7, 2016, http://hometown-pasadena.com/events/the-rose-queen/119794.
57.
“First Public Reading of ‘Shakespeare’s Most Feminist Play,’” Royal Holloway University of London (website), March 1, 2016, https://www.royalholloway.ac.uk/aboutus/newsandevents/news/newsarticles/margaretofanjou.aspx.
58.
Clara Claiborne Park, “As We Like It: How a Girl Can Be Smart and Still Popular,” in The Woman’s Part: Feminist Criticism of Shakespeare, eds. Carolyn Ruth Swift Lenz, Gayle Greene, and Carol Thomas Neely (Urbana: University of Illinois, 1983), 101.
59.
Jean E. Howard and Phyllis Rackin, Engendering a Nation: A Feminist Account of Shakespeare’s English Histories (London: Routledge, 1997), 44.
60.
Tony Wright, email message to author, March 5, 2014.
61.
Ralph Carhart, conversation with author, March 13, 2013.
62.
Bercovici, conversation with author, January 21, 2016.
63.
Sextion, “Margaret: A Tyger’s Heart” (unpublished manuscript, October 31, 2011), PDF, 108.
64.
Dick, conversation with author, January 2, 2013.
65.
Smith, “In Time of Roses” (unpublished manuscript, April 13, 2011), PDF, 1.
66.
Alex Miletich IV and Emily Wilson, “Reconstructing the Past: A Look into the Nature of Memory” (Program for In Time of Roses, Clarice Smith Performing Arts Center, University of Maryland, April 26–May 4, 2013), 21 (emphasis in the original).
67.
Sweet, “The Falcon’s Pitch” (unpublished manuscript, November 1, 2006), Rich Text Document.
68.
Grene, Shakespeare’s Serial History Plays, 32.
69.
See Brian Walsh, Shakespeare, the Queen’s Men, and the Elizabethan Performance of History (Cambridge: Cambridge University Press, 2009).
70.
David Addenbrooke, The Royal Shakespeare Company: The Peter Hall Years (London: William Kemper, 1974), 201.
71.
“Shakespeare’s Rose Queen.”
72.
Sam Hurwitt, “Review: ‘New’ Shakespeare Play Strikes Feminist Chord,” The Mercury News (San Jose, CA), September 08, 2016, http://www.mercurynews.com/2016/09/08/review-new-shakespeare-play-strikes-feminist-chord/.
73.
“Queen Margaret,” Charlotte Now, April 22, 2016, http://www.charlottenow.com/queen_margaret-e-15847/.
74.
Markus, “Director’s Note,” quoted in Robert Potter, “Queen Margaret” (unpublished manuscript, August 2001), PDF.
75.
“RLT’s Staged Reading of ‘Queen Margaret,’” Brown Paper Tickets, http://www.brownpapertickets.com/event/2161461.
76.
“RLT’s Staged Reading.”
77.
Richard and Joan Bell, email to author, February 11, 2013.
78.
“First Public Reading.”
79.
Liz Nicholls, “Bard’s Ruthless Margaret Gets Her Own Play,” Edmonton Journal, February 5, 2004, Factiva, C2.
80.
Potter, “Rediscovery of Queen Margaret,” 106, 113.
81.
Levy, “Note From the Artistic Director / Adaptor-Playwright” (Program for Queen Margaret, Muse of Fire Theatre Company, July 23–August 20, 2016).
82.
Morbyrne, “Co-Adaptor’s Note” (Program for The Life and Death of Queen Margaret, Real Live Theatre, July 29–August 6, 2016).
83.
Hampton-Reeves and Rutter, Henry VI Plays, 17–18.
84.
Naomi C. Lieber and Lisa Scancella Shea, “Shakespeare’s Queen Margaret: Unruly or Unruled?” in Henry VI: Critical Essays, 79.
85.
Irene Dash, Wooing, Wedding, and Power: Women in Shakespeare’s Plays (New York: Columbia University Press, 1981), 159.
86.
Anna Jameson, Shakespeare’s Heroines: Characteristics of Women, Moral, Poetical, & Historical (London: George Bell and Sons, 1832), Google Books, 334; Ashcroft, “King Henry VI,” 22.
87.
“RLT’s Staged Reading of ‘Queen Margaret,’” Brown Paper Tickets (website), http://www.brownpapertickets.com/event/2161461.
88.
David Daniell, “Opening Up the Text: Shakespeare’s Henry VI Plays in Performance,” in Drama and Society, ed. James Redmond (Cambridge: Cambridge University Press, 1979), 268.

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Charlene V. Smith

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Smith, C.V. (2018). Margaret of Anjou: Shakespeare’s Adapted Heroine. In: Finn, K., Schutte, V. (eds) The Palgrave Handbook of Shakespeare's Queens. Queenship and Power. Palgrave Macmillan, Cham. https://doi.org/10.1007/978-3-319-74518-3_24

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