Tag Archives: Shakespeare

Dawn Of The Dead

They waited in a corridor, sitting on one of five small metal chairs arranged along the wall facing a door. “Working Title” was printed on a piece of paper stuck to the wall next to the door.

Three of the seats were occupied, a young woman and older man with heavily disfigured faces and dressed in rags were sitting together talking at one end of the row whilst another woman perched at the other. Cautiously, curiously, she stole glances towards her fellow auditionees until she couldn’t wait any longer.

“Sorry to interrupt but they didn’t tell me we were supposed to come already made up.”

There was a delicate pause.

“It’s not make up.”

Blushing she turned away and concentrated hard on staring at the door opposite. The other two resumed their conversation.

“I was in Shaun Of The Dead” said the man, simultaneously nodding towards the woman that had interrupted them with disapprovingly raised eyebrows. Or one eyebrow at least. The other was missing along with its eye.

“Really ? What was the part ?” asked his companion.

“Zombie 63. Talk about being typecast. I was in that scene near the end when we all tried to get in the pub.”

“Much work since then ?”

He gave out a sigh, shaking his head. “Bits and pieces. Episode of Casualty when they needed some accident victims. Obviously I still get a bit of live work round Halloween but it’s been tough. I knew times were changing when I worked on Shaun to be honest.”

“How so ?” The woman leaned across more closely in concern.

“Well, a few of the extras were chatting between takes, you know, like you usually do. Turns out guy next to me was Chris Martin.”

“Chris Martin ? Singer with Coldplay Chris Martin ?”

“The very same. He was a nice enough guy – made a few jokes that he wrote “Yellow” about his experiences of zombiefication. Yeah, like he’d know. He was just there because he’s mates with Simon Pegg or something but it wasn’t right. One of us could have had that part. That was when it all changed for me.”

He looked down at the floor before taking a deep breath. “Sorry, where are my manners ? Here I am moaning away and I haven’t even introduced myself properly”. He extended a hand, two fingers bare of flesh. “George, pleased to meet you.”

She shook it – neither gripped hard just in case anything else fell off. “Dawn” she said with a smile. “You missed out on much since then ?”

“God yeah” he nodded. “I was up to do the motion capture for some video game, ‘The Last Of Us’ it was called. Usual post apocalypse, everyone’s turned into zombies sort of thing. They needed someone with a really good slow, shuffling gait. Bit of a stoop. You know the drill.”

“You’d be perfect for that” she encouraged.

“You’d think so, wouldn’t you ? Overlooked me for a human.”

“A human with a stooping, shuffling gait ?”

“No, he was six foot, back as straight as an ironing board. It was embarrassing watching him hunch himself over and act it out.”

“What about other work ?”

“Well, the zombie stuff isn’t really what I wanted to do. Just seemed easiest, you know, what with actually being a zombie. After those parts started getting taken by humans I thought maybe I could audition for some human roles.”

“Sure, why not. Don’t blame you if they’re taking the stuff that’s natural for you.”

“That’s what I thought. Before I turned…”

Dawn stopped him. “Out of interest – bitten ?”

“Yeah, bitten. Woman in a club. I’d had a few drinks. Thought she looked a bit rough but didn’t realise she was undead until it was too late. Anyway, before I turned I’d always wanted to do Shakespeare. Marlowe. Serious stuff.”

“Any luck ?”

“The closest I got was Richard The Third.”

“I that am stunted and deformed ?”

“Afraid so. I sort of hated myself for it, felt like I was playing to the stereotype I guess, but it was the obvious way in.”

“What happened ?”

“I think they were ready to offer me it but we tried a dress rehearsal with the full regal get up and the crown and, unfortunately, my ear had disintegrated the previous week and it just wouldn’t stay on my head. Gave it to some bloke off the tele. Think it was that one that was in Doctor Who.”

“David Tennant ?”

“That’s him. His accent was dreadful. I remember thinking that it’s not okay for Richard The Third to have some minor putrefaction around his ear but he can be Scottish.”

“Surely there’s something we can do about this ?” demanded Dawn.

“I can’t see it getting better. Too much prejudice around getting a human role, not to mention everyone getting twitchy about being bitten – as if we’re just going to start taking chunks out of them…”

“Well… it does happen sometimes…” mused Dawn. The other woman, who had sat rigid since her earlier interruption, coughed an excuse and walked rapidly away down the corridor.

“Okay, sometimes” acknowledged George. “But it’s not like we’re mindless. You know what ? The best chance for work now I reckon is if bits of you start falling off.”

Dawn looked at George quizzically.

“Think about it” said George. “They always need a selection of zombies for the big scenes and they like a bit of variety amongst their undead. Some with distended flesh, some with bandages – the humans can do that with make up.” He leaned in conspiratorially. “But they always like a couple with limbs missing so I reckon if I could lose a leg or something then I’d get much more work”.

Dawn looked skeptical. “Seems a bit radical George. Any of your limbs close to coming off ?”

George smirked and rolled up his sleeve. Just below the elbow his flesh had rotted away to the bone and his lower arm had a distinct dangling quality about it. At that moment the audition room door swung open and a head briefly appeared, called out “George Moorer !” and then disappeared again.

“You’re up – good luck” said Dawn. “Which part you after anyway ?”

“Miscellaneous Zombie” said George standing up. “Not sure I’ll get it, loads of humans have been in before you arrived. Some of them will have been after the lead though – some guy that starts hacking up the zombies with a chainsaw or some such nonsense. Anyway, great to meet you.” He extended his arm again. Dawn half got up to shake his hand, grabbing at it a little too enthusiastically.

“Knock ‘em dead” she said. “Or, you know, knock ‘em undead !”. George turned towards the door but Dawn still had hold of his hand. There was a brief tearing noise and she was left standing there clutching his lower, right arm as the rest of him walked towards the door.

“Er… Sorry, George” she called. He turned back and looked down at his misplaced appendage. “I think you left this…” she offered apologetically.

George smiled and gently took back his missing part.

“Chainsaw, remember ?” he winked. “I think I know just the piece to nail this audition.” He coughed, solemnly holding up his severed limb so that the fingers, beginning to mortify, pointed directly at Dawn.

To be, or not to be, that is the question-

Whether ‘tis nobler in the mind to suffer

The slings and arrows of outrageous fortune

Or to take arms – or an arm at least – against a sea of troubles

And by opposing, end them”

With a dramatic flourish he bowed to Dawn, turned on his heel, and swept into the audition room.

 

……

This is the sixth story in my series of 42 shorts that I’m writing to raise money and awareness for Mind, the mental health charity. Please share it if you liked it (or even if you didn’t…) or if you’re a zombie (or if you’re not). If you’re interested in donating to a great cause then please visit my fundraising page: https://www.justgiving.com/42shorts/

I love you, would you marry me ?

34. Slaveship – Josh Rouse

Ten years ago today (as featured at this link here in the 42) I was fortunate enough to marry my wonderful wife. We had been a couple for close on five years prior to getting married but I had known that we’d spend our lives together within a few short weeks of us getting together. When people had enigmatically responded “you’ll just know” to the how-can-I-tell-if-this-is-the-one question I’d never really understood it until, a little like magic, you do “just know”.

And the process of being married, of sharing your life, of being as much in love now as you were at the beginning, is all about uncovering new truth. New to you at least, it’s a path well trodden by those lucky enough to have experienced it. I was struck, in that spirit, by one of the readings that we had at our wedding. Sonnet 116 by William Shakespeare, who knew a thing or two about love and writing, if not much about naming sonnets, is not an uncommon wedding reading. It kicks off by directly and playfully referencing the marriage service itself – the call to anyone knowing of any lawful impediment – before reflecting on the constant nature of love:

SONNET 116

Let me not to the marriage of true minds
Admit impediments. Love is not love
Which alters when it alteration finds,
Or bends with the remover to remove:
O no; it is an ever-fixed mark, 
That looks on tempests, and is never shaken;
It is the star to every wandering bark,
Whose worth’s unknown, although his height be taken.
Love’s not Time’s fool, though rosy lips and cheeks 
Within his bending sickle’s compass come; 
Love alters not with his brief hours and weeks, 
But bears it out even to the edge of doom.
   If this be error and upon me proved,
   I never writ, nor no man ever loved. 

What struck me was how little I think I understood that sonnet ten years ago in comparison to now, how much richer and how much more valuable love is when it has been tested. Not tested in the sense of feelings becoming uncertain or wavering, quite the contrary – tested in the sense of life’s adversities being faced down by two people utterly unwavering in their commitment to each other.

My wife and I (to borrow a line guaranteed a cheer in any Groom’s wedding speech) have enjoyed a wonderful ten years together. We have laughed a lot, retained a shared love of many things (big American DVD box set dramas, Buffy The Vampire Slayer, country & western, wine), and respectfully disagreed on others (asparagus, football, the merits of video games, eating meat). We’ve raised – or started to raise at least – a smart, funny daughter who makes us proud every day. Even on her worst days. We’ve made a home in a house that, had you asked her ten years ago, my wife would have point blank refused to live in. We still haven’t plastered the artex ceilings. We have built and share a life.

We’ve also, inevitably, dealt with our fair share of stuff that you wouldn’t parcel up and label as fun. Surgery, job loss, more surgery, baby with bronchiolitis, buying the wrong house, madness, further surgery, the cancellation of Firefly, and a bunch of other surgery. Don’t get me wrong, this is just life and, by many, many yardsticks we’re very lucky. It’s just life – it’s just that sometimes there’s been so much of it all at the same time.

That’s when you understand “an ever-fixed mark, that looks on tempests, and is never shaken”. You don’t understand that stood atop the aisle surrounded by family and friends. Sure, you listen to the words and nod and smile but you don’t really get it. You get it when you’ve stood firm through a few tempests – if not quite to “the edge of doom”.

There’s a brilliant piece of literary criticism on Sonnet 116 dating back to 1936 from Tucker Brooke:

[In Sonnet 116] the chief pause in sense is after the twelfth line. Seventy-five per cent of the words are monosyllables; only three contain more syllables than two; none belong in any degree to the vocabulary of ‘poetic’ diction. There is nothing recondite, exotic, or metaphysical in the thought. There are three run-on lines, one pair of double-endings. There is nothing to remark about the rhyming except the happy blending of open and closed vowels, and of liquids, nasals, and stops; nothing to say about the harmony except to point out how the fluttering accents in the quatrains give place in the couplet to the emphatic march of the almost unrelieved iambic feet. In short, the poet has employed one hundred and ten of the simplest words in the language and the two simplest rhyme-schemes to produce a poem which has about it no strangeness whatever except the strangeness of perfection. (Brooke, p. 234)

I love this piece because it recognises entirely that the heart of the poem, its power and meaning, can not be pulled apart through an unpicking of the mechanics of the verse. Has about it no strangeness whatever except the strangeness of perfection. What a wonderful line. In exactly the same way I can not fully articulate the power and the meaning in my marriage through a straight articulation of the facts: we met, we got married, we bought a house, we had a child. There is a common thread running through those dry facts, a simple but strong stitch that binds them: love. The star to every wandering bark; the fixed point in the sky that guides our vessel home.

There isn’t an easy way to wrap ten years married, fifteen years together, in a single record. Shakespeare gets closer than a song – did I mention he knew a thing or two about love and writing – but this isn’t 42 poems, 42 years. The nearest thing through our time together to “our song”, I guess, is this mildly daft, quirky, fun, light-as-a-feather piece of pop that Josh Rouse put out on his fantastic “1972” album. I don’t think we necessarily both love it because we’re also mildly daft, quirky, fun and light-as-feathers, though at our best we are all of those things, but it does seem to carry some of the essence of what makes us tick as partners. We love some terribly serious and intellectual stuff too but, if I’m honest, putting on this record is far more likely to put a smile on our faces than breaking open “The Complete Works…” and having a quick read through of the Bard.

It remains a privilege each and every day to be married to the best person I know. This post is for her with all my love, always.
……

Citation:
Shakespeare, William. Sonnet 116. Ed. Amanda Mabillard. Shakespeare Online. 8 Dec. 2012. < http://www.shakespeare-online.com/sonnets/116detail.html >.

References:
Shakespeare, William. Shakespeare’s Sonnets. Ed. Tucker Brooke. London: Oxford UP: 1936.