 Shakespeare’s illustrious prose is inextricably linked with the music that was performed in his plays. The Bard frequently directed his characters to burst into song, cannily catering to the vast audiences who flocked to the Globe Theatre, expecting to enjoy the popular melodies of the day that were interwoven throughout the narrative. English novelist and biographer Peter Ackroyd remarked, “It can be argued that Shakespeare was the first dramatist to make song an integral part of the drama and can thus be seen as the begetter of the musical theatre.” Play, Music! features music from such memorable plays as All’s Well that Ends Well, As You Like It, Hamlet, Midsummer Night’s Dream, Taming of the Shrew, Twelfth Night and more, penned by prominent 16th-century tunesmiths including John Dowland, King Henry VIII, Richard Tarleton and Shakespeare himself. International ensemble THEATRO, founded and directed by GRAMMY® Award-winning multi-instrumentalist Brian Kay, creates memorable theatrical experiences that transport modern audiences to bygone eras and places, illuminating the stories of the past with immersive and authentic ambience.English novelist and biographer Peter Ackroyd says of the Shakespearean theatre: ‘Words were not the only theatrical reality. There was much music.’ In Shakespeare’s lifetime, there would have been a small band of six or seven musicians, including a trumpet, drums, lutes and recorders, at the Globe Theatre. Many of the actors would have been trained in music, have played an instrument, or at the very least have been able to carry a tune. Stage directions even called for characters like Ophelia to enter the stage with a lute. His characters frequently burst into song. Not only fools such as Feste and Touchstone, but unlikely characters such as Hamlet and Iago were required to sing. ‘It can be argued that Shakespeare was the first dramatist to make song an integral part of the drama and can thus be seen as the begetter of the musical theatre’ (Ackroyd). Foreign visitors frequently commented on the inseparable relationship between music and London’s stage performances, further emphasizing its significance. While Shakespeare composed many of the lyrics within his plays, none of the published works included musical notation or indications of the specific tunes to be used for the songs. Shakespeare’s manuscripts and folio editions lack musical notation, but his plays are rich with references and quotations from the popular songs of his time. These ballads, widely known and cherished, were the soundtrack of daily life – sung in homes, hummed on the streets and enjoyed by all walks of life. Poets often penned new lyrics for these familiar tunes, while composers crafted variations, breathing new life into well-loved melodies. This practice has allowed ‘lost’ songs to be rediscovered within the text of Shakespeare’s works. Popular songs were not only used, they were woven into his plays to add layers of meaning and emotion. This use wasn’t arbitrary – Shakespeare knew his audience would recognize the song’s implications, deepening the impact of a scene. His use of song demonstrates his deep understanding of music’s power to evoke emotion and enrich narrative.
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