Shakespeare and the measure of virtue

Angelo (René Millán) will have his way with Isabela (Stephanie Beatriz). Photo: David Cooper/Oreon Shakespeare FestivalDavid Cooper/OSF

By Bob Hicks

The central problem for modern audiences in Shakespeare’s “problem play” Measure for Measure is this: Why doesn’t Isabella just give up her virginity to save her brother’s life? Offensive and transgressive as it would be — what the power-abusing Angelo essentially proposes is mercy at the price of rape — how, in a world of situational ethics, is that a greater harm than allowing her brother to be executed when she could have saved his life? And why, subsidiarily, is Isabella then looked on as such a paragon of virtue that Vincentio, the wise and just Duke of Vienna, proposes at the end of the play to marry her himself? Is she not, by valuing mere chastity over a supposedly beloved brother’s life, the play’s true monster?

Problem, indeed.

I find the suggestion of an answer in The Embarrassment of Riches, Simon Schama’s lauded 1987 investigation of Dutch character and culture during that country’s Golden Age, which overlapped and carried beyond Shakespeare’s own Elizabethan/Jacobean times. Schama calls his opening chapter The Mystery of the Drowning Cell, and recounts the story of a system of punishment that may have been used often, or only rarely, or not at all: perhaps it was just a rumor to keep the citizens in line. Prisoners who were too lazy to work, according to several historical reports, were placed in a dank room in Amsterdam that was slowly flooded with water. Their choice was stark: get busy pumping the water out, or drown. Schama casts the story as a crucial metaphor for the Dutch dilemma of the landscape, a physical space that demands constant vigilance if its inhabitants are to keep from being inundated by the waters of the sea: “To be wet was to be captive, idle and poor. To be dry was to be free, industrious and comfortable. This was the lesson of the drowning cell.”

In other words: sometimes extremes mean more than they mean.

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Holbein’s Madonna sells for $70 million

By Bob Hicks

Many of you will remember Hans Holbein‘s exquisite 1528 painting Madonna with Basel Mayer Jakob Meyer and His Family, often known as the Darmstadt Madonna, which was the centerpiece of the Portland Art Museum’s blockbuster exhibition Hesse: A Princely German Collection in 2005.

holbein-madonnaJudith H. Dobrzynski passes along the news on her blog Real Clear Arts that the Hesse family has sold its most famous asset to German billionaire Reinhold Wuerth, and gives a fascinating recap of the painting’s history in the process. Dobrzynski links to Bloomberg’s news account. Other sources confirm the painting will land in Wuerth’s private museum, which is open to the public, in an old German church. Bloomberg and Dobrzynski give a price of “at least” $70 million, and Dobrzynski notes that it might have been as high as $165 million — a staggering sum, even in the masterpiece market — if the German government had allowed it to be sold out of country.

At the time of the Portland exhibition it was known that the Hesses were facing a mammoth inheritance tax bill and despite many years of caring for the Holbein — including protecting it from destruction during World War II — had been exploring selling the work. The Getty at one point reportedly was interested, but German law forbidding the sale of masterworks outside the country put an end to negotiations.

The Hesses were good stewards. Presumably, Wuerth will be, too. And best of all, the painting will remain available to the public. Portlanders were lucky to see it when they did.

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Art Scatter has also been following the adventures of Egyptologist Zahi Hawass, who has lectured at the Portland Art Museum and who was ousted as that country’s minister of antiquities after this year’s Egyptian revolution, only to be reinstated. We wrote about the shifting situation here, here, and here.

Well, we can’t keep up.

Three days ago, Hawass once more got the boot. The story, from Smithsonian.com, is here.

Then, just hours ago, he was reinstated yet again, according to lezgetreal.com. The Daily Beast confirms the report.

Art Scatter doesn’t know what to say, except that it reminds us of the days when George Steinbrenner kept hiring, firing, and rehiring Billy Martin as manager of the Yankees. People said Steinbrenner and the volatile Martin deserved each other. We hesitate to draw any parallels to Hawass and the revolutionary leadership.

J.C. & the Pirates: Ashland hits its stride

Mark Antony (Danforth Comins) grieves for his dead Caesar (Vilma Silva). Photo: Jenny Graham.Jenny Graham/OSF

By Bob Hicks

Sunday was one of those days when Ashland repays all its debts and reminds you why you make the pilgrimage in the first place. The Scatters did a two-fer at the Oregon Shakespeare Festival: an enthralling Julius Caesar in the round at the compact New Theatre in the afternoon, a warm and comically capacious Pirates of Penzance on the outdoor Elizabethan Stage in the evening.

If you haven’t read or seen Julius Caesar since that unfortunate high-school freshman English class a few years back, take heart. Nothing didactic or dutiful here: this is storytelling at its most elemental and joyous. Director Amanda Dehnert’s production takes advantage of a lot of the bells and whistles that the festival’s prodigiously talented technical staff can muster, but the heart of the show is squarely in the acting and the script. It’s stripped-down theater, strategically rebuilt.

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Reign, reign, go away: it floods again

Doll Tearsheet (Nell Geisslinger), Falstaff (Michael Winters) and a disguised Prince Hal (John Tufts) in "Henry IV, Part Two." Photo: T. Charles Erickson/Oregon Shakespeare FestivalT. Charles Erickson/OSF

By Bob Hicks

All right, now, enough is enough. Not to get all Bardic on your heads, but this truly seems to be the summer of the Oregon Shakespeare Festival‘s discontent.

Yesterday we told you about the storm that sapped the power all over the festival’s hometown of Ashland, and the emergency-tent performance that was thus wiped out, and we recounted the perils of the broken playhouse, which after six weeks of darkness thankfully will be whole again in another couple of weeks.

So now let’s catch up with last night and the Case of the Empty House. That would be, The Case of the Empty House Awash in Rain, except it wasn’t totally empty (Mr. Scatter exaggerates) and the rain, for all its annoyance, wasn’t exactly a gullywasher, although a fair share of the audience that did show up treated it like the Johnstown Flood.

The theater was the Elizabethan Stage, that grand open-air space that holds 1,200 people. The play was Henry IV, Part Two, the midplay in the Henry saga and in many ways the least stirring, yet a play that still has considerable charms. The audience was … sparse. I’ve seen a few light houses in the 30-plus years I’ve been coming to the festival, but for a Saturday night in July and a play that may not be one of the box-office boffos like Twelfth Night but is hardly Troilus and Cressida or Pericles, Prince of Tyre either, the wide swaths of empty seats were shocking.

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OSF beats the curse of the Scottish play

"Love's Labor's Lost" at Oregon Shakespeare Festival, 2011. Photo: T. Charles Erickson/OSFT. Charles Erickson/OSF

By Bob Hicks

Mr. Noah, will this downpour never end?

The Scatters have disembarked in Ashland, Oregon, hometown of the Oregon Shakespeare Festival. Ashland is in the foothills of the Siskiyou Mountains, a prodigious distance from Mount Ararat, and also a fair trot from the creeping trees of Birnam Wood. Yet the festival must be wondering just whose curse has descended on it this summer, and when that wandering dove is going to return with the olive branch in its beak. As the puckish Marty Hughley commented, somebody down here must have actually uttered the title of The Scottish Play.

At about 7:15 on Friday evening, the lights went out in the little pink rental house where the Scatters are staying on the south end of town. Lights, clocks, fans, air-conditioner. Mr. Scatter ambled next door to see if anyone knew what was up.

“Excuse me,” he said. “Are your lights out?”

He was speaking to a smiling woman relaxing on a porch chair with her legs tucked beneath her. “Yeah,” she said. “The whole neighborhood’s hit.” She paused and gazed southwest. “Storm coming in from the coast,” she said. “Better just sit back and enjoy the show.”

By “show,” she didn’t mean The Imaginary Invalid. She meant the fireworks she hoped would soon be visible in the sky.

A little later the Scatters hopped into the Scattermobile and motored downtown toward the festival grounds. All the traffic lights were out. All the lights in all the houses and shops were out. The word “neighborhood” was beginning to take on a larger than usual meaning.

They approached the big white tent where they were going to see Moliere’s Invalid. Curtain time was approaching. Still no power. The Scatters began to get nervous. Had the Ashland curse bitten again?

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Happy birthday, and farewell: Irby Hicks, 1916-2011

Today would have been Irby Hicks’s 95th birthday. He made it just five days shy, dying in the wee morning hours of Saturday, July 9, four days after a massive brain hemorrhage essentially shut him down.

Charlotte and Irby Hicks, around the time of their marriage in 1941.We pause for a long moment of reflection, love, and respect. Without Irby Hicks there would be no Art Scatter, not just because without him we would never have been born, but also because he instilled in his seven children the love of language and story that is crucial to the forming of any writer. Three of his children became professional writers. The other four are devoted readers.

Dad now enters that strange but powerful after-existence of memory, surviving in hearts and minds and stories. And memory being the elusive and misleading thing that it is, he approaches the category of myth. What do we remember, what have we forgotten, is it true?

For some reason, some of my most potent memories of my father involve food, and yet I’m not quite sure the events I recall actually happened. Did I hear them someplace, in a different context? Did I take unrelated things and invent a storyline to string them together?

Dad reading the newspaper, probably about 1950, probably in Puyallup, Washington.I vividly recall the time he put a chicken on the chopping block and lopped off its head. The decapitated bird rose up, flapped its wings, and flew across the low-lying garage, finally flopping to the ground on the other side. One sister recalls this. No one else does. So my sister and I wonder: Was this somebody else’s story that we somehow transposed to Dad? I remember the time I came home from school and encountered a whole hog’s head staring up from the bathtub: Dad had acquired it, and until he had time to strip it down, there was no place else to store it. No one else remembers that one. Did it happen? One thing’s true: the garden. That large, lush garden that for years flourished so magnificently. Maybe I think of food because it nourishes, and Dad nourished my own life. I am, in many ways, what he planted.

Like all fathers and sons, we had our times. In my late teens and early twenties I had the arrogance of the young, who like to take the full measure of their elders from the narrowest channels of their minds. And Dad did not suffer fools gladly, especially if the fools happened to be his own offspring. But those days were long past. Dad commanded respect, and we were all, I think, a little in awe of him. His even keel, his love of song, and his dry wit brought him down to earth and bound us together.

Dad was straight and strong and durable, and although we certainly knew better, I think that until three or four years ago we didn’t quite believe he would ever wear down. Well, he did. It was his time, and he went as gracefully as the circumstances allowed.

Now we turn our attention to Mom, Charlotte Lucille Baldwin Hicks, who is 91, and who has grit. Her story isn’t done.

If you’re interested, you can read Dad’s obituary notice here.

Irby Hicks, 1916-2011, in his latter years.