Jane Sutcliffe and John Shelley tell us about their book Will’s Words, which celebrates the massive impact The Bard has on the way we talk today
Jane Sutcliffe and John Shelley
Sun 20 Mar 2016 05.00 EDT Last modified on Wed 20 Sep 2017 06.07 EDT
Jane Sutcliffe: “For goodness’ sake,” “seen better days,” “too much of a good thing”— all Will’s words! This gallery tells you a bit more about William Shakespeare and his life, the words he gave are italicised throughout this gallery. As you’ll discover the words William Shakespeare gave us really have changed the way we talk, which is why illustrator John Shelley and I made our book Will’s Words, to tell you all about it! John Shelley: I wanted the cover of the book to feel like opening a wooden chest. The design is inspired by panels with carved figures from William’s plays.
Jane Sutcliffe: Clever Will! His words have become “household words.” John Shelley: my William in Will’s Words is based on the “Chandos” portrait, thought to have the strongest claim as a portrait of the Bard.
Jane: In 1606 London was a“bustling, jostling, clanging, singing, stinking, head-chopping, pickpocketing wonder of a city.” John: Much of the domestic architecture in Will’s Words was inspired by engravings and 19th century photos of long-demolished London areas like Wych Street and old Fleet Street.
Jane: When it came to plays, Londoners thought you couldn’t have “too much of a good thing.” Nearly one in ten Londoners went to one of the city’s playhouses every week. John: This illustration shows a view over Thames Street from the north bank of the river towards Southwark and Bankside, based on descriptions and a few contemporary visual hints rather than firm fact. All of this was destroyed in the Great Fire of 1666.
Jane: A Shakespeare play was a cause for “excitement”—another Will’s word. John: Here’s my illustrations of the precincts of old St Paul’s Cathedral, where most printers were situated. The emblem on the wall is of the Guild of Stationers.
Jane: All “of a sudden” London’s streets were flooded with playgoers. Whole troops of people made their way by bridge or boat to the Globe — the fairest playhouse in the city. John: This illustration shows three theatres: Bear Garden on the left, the Rose and the Globe on the right.
The Globe had room for three thousand patrons, and not one restroom. Trying to find one would have been a “wild-goose chase” Vendors sold beer and snacks —handy for throwing at bad actors.
Jane: Women’s parts were played by boys in wigs. Some must have been “a sorry sight.” (Will’s words again.) John: The Lord Chamberlain’s Men include Richard Burbage, William Sly and Ben Johnson.
Jane: Poor people stood. Rich people paid more to sit in the balcony. The fanciest playgoers sat overlooking the stage. And they all got their “money’s worth.” John: My version of the Globe in Will’s Words is based on the reconstructed Globe Theatre, I’m particularly grateful to The Globe library staff for their help.
Jane: A trap door could make a character seem to vanish “into thin air” This illustration of the special effects in Midsummer Night’s Dream made me want to see the play again. So I did!
Jane: Shakespeare used his words to tell stories about feelings. And feelings haven’t changed in 400 years. Will’s words have remained just as true as they ever were. People listened in “amazement” to Will’s glorious words then, as we do today. John: The figure of William is seen somewhere in every illustration in Will’s Words, sometimes hidden in the crowd, like here. Can you spot The Bard?
Thank you to Jane Sutcliffe and John Shelley for this wonderful gallery to celebrate their book Will’s Words: How Shakespeare Changed the Way You Talk. The words and pictures are used with permission by Charlesbridge Publishing. All rights reserved.
