A female theatre dresser creates a stir and sparks a revolution in seventeenth century London theatre by playing Desdemona in Othello. But what will become of the male actor she once worked for and eventually replaced?
Based in the 1660's of London's theaters, this film is about the rules of gender roles in theatre production, and means to change them for everyone's benefit. Ned Kynaston is the assumedly gay cross-dressing actor who has been playing female parts in plays for years, particularly Desdemona in Othello, he also has a close relationship with a member of the Royal Court, the Duke of Buckingham. One day however, the rules of only men playing women could change when aspiring actress Maria auditions as Kynaston's praised role, Desdemona, and soon enough, King Charles II decides to make the law that all female roles should be played only by women. Maria becomes a star, while Ned finds himself out of work. But after a while, Ned finds it in his nature to forgive Maria's aspiration, they may even fall in love, and Charles may proclaim women will be played by either gender. Written by
Inspired very loosely by true events, with many characters based on actual personalities from the 17th-century stage. Ned Kynaston did play female roles, but also played male roles before and after women were allowed on stage. He would have been 20 in 1660, when the first woman appeared on stage. Margaret Hughes (Maria) is supposed to have been the first woman to appear in a stage production, aged 30. She did appear as Desdemona in Othello, on 8 December at the theater on Vere Street operated by the King's Company, whose manager was Thomas Killigrew, not Thomas Betterton as the film shows. Betterton was a successful theater manager later, but was only 25 in 1660. Other characters also were not historically the age that they appear to be in the film. For example, Nell Gwynn was only 10 in 1660. See more »
When Kynaston says, "I blame you for my death," he looks up at Maria, but in the next shot his head is back down. See more »
Stage Beauty is another adaptation of a play. Yawn? Well don't, because it also happens to make a highly successful transition from stage to screen thanks to the genius that is director Richard Eyre.
It tells the tale of Ned (Billy Crudup), a young actor who specialises in portraying women on stage. In a world where only men are allowed to tread the boards, Ned's "Desdemona" (from Shakespeare's Othello) is the closest thing 17th century audiences get to femininity in theatre. However, a young upstart in the form of Maria (played by Clare Danes) wants to change all that. She has a passion for drama and unfortunately the bisexual Ned. With the help of King Charles II (Rupert Everett), she may just get her wish, changing theatre forever, and hopefully pick up Ned on the way.
When thinking of the themes of the film, many people dismiss it as a clone of Shakespeare in Love. This is unfair- the film is more thought provoking, substantial and better acted than the aforementioned Oscar snaffler. It explores themes of sexuality and gender with insight and intelligence as well as telling (and, in fact enthralling us with) a love story. As previously referred to, the acting is exceptional, especially the two leads (Danes and Crudup) who shine. The supporting cast is strong too, with Richard Griffiths as a heterosexual prequel to his role in Withnail and I, Tom Wilkinson brimming with quiet intensity as Betterton and Everett hamming it up wonderfully as the King.
Even if it does end on a slightly trite note (not to give too much away, but its' "birth of method acting" shtick irritates), Stage Beauty is a funny, heart-warming and occasionally quite cerebral meditation on love and art. What more could any theatre, or film lover for that matter, want? And don't say Shakespeare In Love!
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