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In the final episode of Season 1 of Party Bard, Molly and Jack celebrate one of the great Shakespeare adaptations: Julie Taymor’s 1999 movie version of Titus Andronicus. They marvel at Taymor’s ability to draw exceptional performances from her cast, create stunning visual tableaus, and make a small budget go a long way, all in the service of bringing the play’s themes to life. CW: The play and film cover tough subjects like sexual assault and sexual violence, which are discussed in this episode.

In this performance episode, Jack and Molly watch the Shakespeare's Globe 2014 production of ANTONY AND CLEOPATRA. Molly can't deal with all of her feelings about Eve Best. They both appreciate a thoughtfully divided Antony, a scene-stealing Charmian, and a gloriously tipsy Enobarbus. They both relate to the social anxiety of Octavius Caesar not enjoying himself at a raucous party. Also, excellent transitions, the Rolling Stones, and once again, Eve Best.

In this Speech episode, Jack and Molly dig into Henry V's famous battle-rousing monologue. Both geek out over Mark Rylance's more somber and nuanced interpretation. They also discuss rhetorical devices, toxic masculinity, and somehow bring it all back to Arrested Development again. You're welcome. 

We recorded this apology because yesterday you may have seen an episode on Shakespeare in Love drop in your podcast feed. That was a mistake. Back in the early fall of 2017, before accusations of rape and sexual assault against Harvey Weinstein became public and before the #metoo movement, we recorded an episode about Shakespeare in Love. Given what has transpired since we recorded, we did not intend for that episode to be published, but, through error, it was. As soon as we realized what had happened, we immediately unpublished the episode. We will not be intentionally releasing that episode at any point, and we’re sorry for the hurt it may have caused to have it unintentionally released on Wednesday. We appreciate the trust you put in us by subscribing to this podcast and we will do everything to be worthy of that trust. We will work hard to ensure that nothing like this happens again. Thanks for your time.

In this character episode, Molly and Jack take on one of the baddest mothers in Shakespeare. Come to think of it, she's one of the only mothers. It's Volumnia from Coriolanus, the mom so powerful she stopped an army of men in their tracks and brought them to their knees with her words. We're not exaggerating. Along the way we realize she has a lot in common with Lucille Bluth and her soldier-son bears more than a passing narrative resemblance to Buster.

In this Scene episode, Jack and Molly dig into act one, scene 5 of ROMEO AND JULIET – the infamous doomed meeting of the famous doomed lovers. This scene has it all: Fiery bitchcake Tybalt, perfect comic timing from the Nurse, Benvolio being really done, adorable poetry, and the perfect sentence to utter when all of your friends FINALLY LEAVE your house. 

In this 'adaptation' episode, Molly and Jack discuss Margaret Atwood's imaginative re-telling of the Tempest, "Hag-Seed." An entry in the Hogarth Shakespeare series, this book features an enthralling deep dive in to the main character's psyche, a play within a play within the novel, and some questionable rapping. Enjoy!

Happy Valentine's Day! Shakespeare wrote some great love poetry. Sonnet 130 also known as "My mistress' eyes are nothing like the sun" is up there with the best, even if it might not seem like it at first. Molly and Jack discuss the sonnet as well as Alan Rickman's performance of it, which can be found in this episode and on youtube.

In this speech episode, Jack and Molly do a close reading of Lady Macbeth's soliloquy, "Come you spirits/That tend on mortal thoughts." They discuss a feminist (read: better, fair) interpretation of Lady Macbeth, and get into the multiple meanings of thick blood, milk for gall, and murdering ministers. They also happen upon SEVERAL catchy band names, and explain the Elizabethan Great Chain of Being. Which apparently includes donuts. Also: Shout out to Christine Baker's drama class! 

In this character episode, Molly and Jack take time to examine the arc of everyone's favorite barge-appreciator, Enobarbus. Along the way they discover that Enobarbus' name is super fun for riffing, Jack manages to mention Bruce Springsteen, and Molly provides insights into how Shakespeare stole from Plutarch!

In this episode, Molly and Jack tackle two of the funniest scenes in all of Shakespeare. First, in 2.3, Benedick's friends do some bad improv to surreptitiously inform him that Beatrice likes him. Then, in 3.1, Beatrice's cousin does some great improv to give her the same message about Benedick's feelings! Though they bicker and verbally spar, by the end of these two scenes, Beatrice and Benedick are on their way to being two fuzzy bunnies of love and joy.

Jack and Molly watch Loncraine and McKellen's 1995 adaptation of Richard III for the first time, and marvel at its various wonders: Fascinating directorial choices, devastating POV reveals, and RDJ in a perfect 1930s cream colored suit. Ian McKellen is maybe the best Richard ever, and Maggie Smith dominates as the Duchess of York. And yes, we did work in a reference to The Last Jedi. 

Starring Stephen Fry as Malvolio, Mark Rylance as Olivia and Johnny Flynn as Viola, this all star (all male) cast takes Twelfth Night all the way back to its beginnings. Molly and Jack discuss the delightful music, comfortable blocking and hilarious shrubbery that make the Globe's original conditions performance of Twelfth Night a side-splittingly funny, deeply felt, and wonderfully joyous must-see.

Jack and Molly close read Othello's recount of the wooing of Desdemona from act 1, scene 3. But who's really wooing who in this speech? Is storytelling a form of witchcraft? They also consult the OED for Shakespeare's definition of pity. Desdemona: "I wish I knew someone exactly like you." Othello: "Hey, have you met me?"

How do you make two crowns from an egg? Why are there no more than seven stars? Who can tell why a snail has a house? Who is the coolest fool of them all? These questions and more answered in this character episode of Party Bard on the archetypal Shakespearean Fool, the character only known as "The Fool" from King Lear.

Crows, arrows, the creepiest Lady Macbeth ever put to film, and a fog drenched adaptation of one of the bard's most harrowing works: it's Throne of Blood! Even though Halloween doesn't fall on a Wednesday this year, the excuse to talk about this classic was too good to pass up. Check out the First Annual Party Bard Trick-orTreat Halloween Spooktacular on Akira Kurosawa's masterpiece, considered by some to be the best film version of Macbeth ever made.

Jack and Molly hop into the courtroom with Portia, Antonio, and Shylock. They consult the OED for the definitions of Mercy, and Jack fixes the problem in Problem Plays. What is Mercy? What is Justice? Are Antonio and Bassanio in love? (yes.)

Should Malvolio be played by a tarantula or the Dark Lord? What are the similarities and differences between Shakespeare's Twelfth Night and the 2006 romantic comedy She's the Man? Molly and Jack, speaking as completely objective third party observers with absolutely no personal interest in the situation, offer their thoughts.  

Jack and Molly introduce a new, rotating category of PB episode: Performance! They're talking Michael Fassbender and Marion Cotillard's sweeping 2015 film version of MACBETH, and discuss some strong adaptation choices, many of which they love. Also, this entire episode might actually be about Harry Potter. Also, don't worry Lady Macbeth, we're here for you. 

Molly and Jack do a close reading of Caliban's The Isle is Full of Noises speech from The Tempest. Along the way they find a number of possible candidates for the 2020 election and many reasons to remain very afeared.