That Shakespeare Life

Christopher Marlowe is one of the most fascinating—and mysterious—figures of Shakespeare's lifetime. A university-educated playwright at a time when that alone set him apart, Marlowe rose quickly through London's theater world, dazzling audiences with bold language, ambitious characters, and stories that pushed the boundaries of what the stage could do. 
But Marlowe's life wasn't confined to poetry and playhouses. Evidence suggests he was also moving in far more dangerous circles—working as a government agent in the shadowy world of Elizabethan espionage, where loyalty, religion, and politics were matters of life and death. 
And then, just as suddenly as he rose to fame, his life came to a violent end—killed in a Deptford lodging house under circumstances that remain deeply suspicious. Officially, it was a dispute over a bill. But for a man entangled in secrets, intrigue, and power, that explanation has never quite been wholly satisfying, nor completely accepted.  
Today, we're diving deep into the underworld to look inside the extraordinary life and abrupt death of Christopher Marlowe—from the university halls of Cambridge to the murky underworld of espionage, and onto the stages that helped shape the future of English drama. 
Our guest is Stephen Greenblatt, author of Dark Renaissance a book that portrays Marlowe as the father of Renaissance theater and as innovative as he was intriguing. Stephen's work brings together history, literature, and the hidden forces that shaped the Renaissance world Marlowe inhabited, and we're delighted to have him be our guide this week as we step into the brilliant, dangerous, and ultimately tragic life of Christopher Marlowe.

In Shakespeare's England, the middle of summer was a time of celebration. While the summer season begins at May Day, the longest day of the year, from June 23 into the 24th, was celebrated as the holiday of Midsummer, and Christianized as St. John's Eve and St. John's Day. It was the longest day of the year, and for the life of William Shakespeare, this holiday was marked with celebrations of feasting, dancing, and bonfires. Shakespeare himself immortalizes the spirit of the festivities in Twelfth Night when Olivia says "Why, this is very midsummer madness." Here today to help us unpack what Midsummer celebrations would have been like in the 16-17th century England, as well as to explain for us how seemingly heathen celebration to celebrate the summer solstice lined up with the celebration of the venerable St. John, is our guest and historian, Bill Petro.

Shakespeare is famous for his costume changes in his plays, including characters that swap genders and seemingly fool the world as their true identity simply by a change of clothes. Since Shakespeare's playing companies were all male, and still manage to portray some of the most powerful women characters ever created on the stage, we have to think there was indeed great power in costume.
What was it about women's clothes versus men's designs that made them instantly recognizable on stage for the Elizabethan era? During this time, women were seeing their fashions change rapidly in the design and function of everything from bum rolls to chin clouts, and even the acceptable necklines of this period.
Of course, men were seeing similar transitions in their fashions, with the French introducing English men to the famous poofy shorts that Shakespeare is so famous for wearing. The clothes, along with the sumptuary laws of this period, landed men and women on the wrong side of the law when it came to what they chose to get dressed in each morning.
Here today to help us unpack the world of clothing and the laws that regulated them, along with how Shakespeare was able to portray all levels of society on stage without getting into legal trouble, is our guest, and author of the book Fashion in the Time of William Shakewsspeare, SarahJane Downing.

In Shakespeare's plays, there are over 150 references to the word "hair" across which Shakespeare talks about a barber fixing someone's hair, about hair being dyed, about losing your hair being a natural product of old age, combing your hair, and even the weight of someone's hair. Clearly, there was a significant cultural focus on the care and maintenance of one's carefully selected coif. But exactly what did it look like for someone to care for their hair? Was there such a thing as soap, or dare we guess—Shampoo—that might have been used to keep your hair clean in the Tudor period? To find out more about what one would use in the 16-17th century if you decided to wash your hair, we are meeting with our guest, Julia Martins.  
Julia is here this week to tell us all about products used to cleanse, care, and manage a head full of hair in Shakespeare's lifetime, as well as the manuals and advice that was given in the 16-17th century for the best hair care methods of the Elizabethan era.

In Shakespeare's plays, he uses the word "gauntlet" a total of 6 times. In one instance, the stage directions declare that a character "throws down his gauntlet." In Hamlet, stage directions again refer to a gauntlet by saying that attendants bring "foils and gauntlets" into the scene of Act V.  
But do you know what you should be seeing on stage in these moments? Do you know what object Shakespeare expected the characters to be carrying for these scenes?  
Gauntlet sounds like a military exercise or maybe a very difficult journey through several tough obstacles, and there's a variation of this word which means exactly that—but that kind of gauntlet is for another episode. Today, we're looking at the kind of gauntlet that was actually an article of clothing—a glove, to be precise.  
A highly decorated ornate glove that came all the way up to the wrist of the wearer and was designed to protect the hand against wounds. To find out more about what these gloves were made from, who made them, and exactly why a character would throw one down on the ground in Shakespeare's Henry VI, we are talking with Hannah Marples, clothing historian and author of the project "Experimental Archeology: testing the wearability of a pair of gloves worn by Henry Cary in a painting by Marcus Gheeraerts the Younger, 1603"  
 
Hannah joins us today to help us explore the history of gauntlet gloves, and how they connect with Shakespeare and his plays.