Cineasts may remember the film Stage Beauty all about Nell Gwynne convincing Charles II to keep Edward Kynaston from playing female roles that could be better served by first female actress Margaret Hewes (1645-1719).
Behind the times as usual. By the time Ms Hewes was born, the Italians had already buried and praised Isabella Andreini, as one of the finest exponents of Commedia dell’Arte.
Rather modern in concept, was Commedia dell’Arte, performance art by stock characters – Pulcinello, Arlecchino – often with stock masks (a throwback to Roman stage craft) and very loose scripts if scripts there were at all. Think An Evening At The Improv, with a touch of audience participation. You had to be quick to take on that kind of job. Continue reading →
They don’t make biographers like this anymore. Usually these days the ability to write clear English is much less and the tendency to promulgate unsupported speculation is much greater, than in the last decades of the twentieth century. That was when Massie published the bestseller which made his name, Nicholas and Alexandra.
The same qualities that propelled Massie to the top then are evident in his prose now. He may not be a great writer of lyrical sentences. Consider his description of the day that Catherine usurped the crown of Russia from her husband Peter III: “That afternoon at Peterhof was warm and sunny, and the lesser members of Peter’s entourage remained on the terraces near the cool spray of the fountains or wandered through the gardens under the cloudless summer sky.” Continue reading →