Macbeth, Julius Caesar, A Midsummer Night's Dream and Bartholomew Fair
Bibliographic record
Abstract
Macbeth, Julius Caesar, A Midsummer Night's Dream and Bartholomew Fair, performed by the Stratford Shakespeare Festival, Stratford, Ontario, June-October 2009.Macbeth. Director: Des McAnuff. With Colm Feore (Macbeth), Yanna McIntosh (Lady Macbeth), and Timothy D. Stickney (Banquo).Julius Caesar. Director: James MacDonald. With Ben Carlson (Brutus), Tom Rooney (Cassius), Jonathan Goad (Mark Antony), and Geraint Wyn Davies (Julius Caesar).A Midsummer Night's Dream. Director: David Grindley. With Timothy D. Stickney (Theseus), Cara Ricketts (Hippolyta), Tom Rooney (Puck), and Geraint Wyn Davies (Bottom).Bartholomew Fair. Director: Antoni Cimolino. With Christopher Prentice (Winwife), Jonathan Goad (Quarlous), Trent Pardy (Bartholomew Cokes), Lucy Peacock (Ursla), and Tom McCamus (Justice Overdo).1. The lead-up to the Canadian Stratford Shakespeare Festival's 2009 season was fraught with the financial uncertainty of the times. In 2008, the Festival had run its first deficit in fifteen years, losing a whopping $2.6-million due partly to a drop in attendance. So when by April 2009 ticket sales were down again by nearly 15% over last spring, it began to brace itself, announcing that several of this year's planned performances were being put on hold (Stratford). But the surprise influx of $4.6-million from the federal and Ontario governments' economic stimulus packages soon brightened up the spring and encouraged management to put the full schedule back in place. Summer, however, was slow to appear: despite an initial bump in interest due to the increased advertising that the grants enabled, ticket sales at the end of June were as cool as the Ontario weather, causing the Festival to go cap-in-hand to its own board members and politely ask that they throw in some of their personal resources to help keep the Festival in the black (Posner).2. Moreover, and not unrelated to these budgetary vacillations, there were continuing rumours of strife between the board - conservative at the best of times, never mind these - and its flamboyant artistic director Des McAnuff. His vision for the Festival has resulted in restoring musicals to its marquee Festival Theatre (from which they had earlier been banished in the name of more traditional dramatic fare), and includes plans for a significant renovation of that venue's legendary stage, neither of which is thought to sit well with his superiors (Posner). McAnuff, in only his second year with the Festival, is a complete outsider to Stratford, unlike many of his predecessors. He has spent the last 20 years in both San Diego and New York, where his work has consisted largely of decidedly pop American musicals, not the classical fare on which Stratford has historically prided itself. was originally hired in 2007 to share the artistic directorship with Stratford veterans Marti Maraden and Dave Shipley, but his bent brought about this more classically-oriented pair's disgruntled resignation six weeks before the 2008 season opened. That subsequently remained in sole leadership of the Festival disappointed many critics who had hoped that Maraden and Shipley's influence might finally succeed in pushing it out of what they frequently lamented as the populist rut it had fallen into under former artistic director Richard Monette (Parolin 198-200).3. The most tangible indicator of McAnuff's direction was to be found in his 2008 production of Romeo and Juliet. His design effectively overwrote key aspects of the Festival Theatre's stage, while the production opened with loud gunfire, ranged in time from the twentieth century to the seventeenth and back again, and cast McAnuff's young Broadway protege Nikki M. James as Juliet alongside Gareth Potter's Romeo. Critics were lukewarm toward the production: McAnuff delivers an exciting piece of theatre. But when it's time to zero in on the two young lovers, there's [sic] no bells and whistles left (Ouzounian, Foiled); Potter and James have little chemistry (Nestruck) and just can't carry the text (Ouzounian). …
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How this classification was reachedexpand
Full frame distilled prediction
Teacher imitationNot calibrated prevalence, not ground truth. Human validation pending. Learned from the 10,348 direct Codex labels and 10,348 direct Gemma labels. Candidate is the union of thresholded teacher heads; consensus is their intersection. These outputs are machine_predicted_unvalidated and are not human labels or direct frontier model labels.
Codex and Gemma teacher scores by category
| Category | Codex | Gemma |
|---|---|---|
| Metaresearch | 0.000 | 0.000 |
| Meta-epidemiology (narrow) | 0.000 | 0.000 |
| Meta-epidemiology (broad) | 0.000 | 0.000 |
| Bibliometrics | 0.000 | 0.000 |
| Science and technology studies | 0.001 | 0.000 |
| Scholarly communication | 0.001 | 0.001 |
| Open science | 0.000 | 0.000 |
| Research integrity | 0.000 | 0.000 |
| Insufficient payload (model declined to judge) | 0.000 | 0.000 |
Machine scores (provisional)
The two teacher heads of the student model, read on this work. A score orders the frame for review; it never asserts a category, and the validation status ships verbatim with every row.
Baseline scores from an immature model (maturity gate not passed, 7 training rounds). Scores rank; they never assert a category.
score_only:v0-immature-baseline · verbatim from the scoring run: score_only means the number may rank works, and no category label ships from itClassification
machine, unvalidatedMachine predicted; a candidate call from one teacher head, not a consensus.
How this classification was reached, model by model and score by score, is at the end of the page under "How this classification was reached".