From School Library Journal
Grade 7-10-These retellings of four of Shakespeare's best-known and perhaps best-loved plays are an attempt to provide students with prose adaptations of Hamlet, Antony and Cleopatra, Othello, and The Tempest. The stories are reasonably well told-certainly better than those of "The Shakespeare Collection" series (Oxford, 2002). The language will be more familiar to modern readers than Charles and Mary Lamb's classic Tales from Shakespeare (Signet, 1986) or Marchette Chute's Stories from Shakespeare (New American Library, 1959), and the plots are generally easy to follow. However, unlike Bruce Coville's picture-book series (Dial), in quoting the character's speeches, Birch frequently changes the words of the originals. For instance, Hamlet's famous line "To die, to sleep, perchance to dream- Aye there's the rub" becomes "perhaps to dream- Aye there's the obstacle." Clear? Without question, but the author's brilliant poetry is totally lost. A bigger problem with the book, however, is the artwork. Lambert's watercolors are amateurish and repetitive, and some of them are distracting, even laughable. For example, in Hamlet, when Gertrude drops the poison cup, she looks as if she's sticking her tongue out at the troubled prince, and her orange hair and blue fingernails make her look more like a painted woman than a reigning queen. This version does not do justice either to Shakespeare's characters or to his poetic genius. Use Coville's adaptations to introduce the stories, and then treat students to the Bard's original plays.
Nancy Menaldi-Scanlan, LaSalle Academy, Providence, RICopyright 2003 Reed Business Information, Inc.
--This text refers to an alternate
Hardcover
edition.
From Booklist
Gr. 5-8. A gift book but also a useful library purchase, this large-sized volume retells four of Shakespeare's popular plays:
Hamlet, Othello, Antony and Cleopatra, and
The Tempest. Birch's detailed, scene-by-scene narrative goes beyond study guides and plot summaries to stay true to the drama and the characters' complexity and evoke some of the richness and cadence of Shakespeare's language ("He pulled the cloak of his madness round him and stared through its mask at her. 'Are you honest?' he demanded"). The clear design is inviting, and Lambert's occasional stylized, color illustrations are both theatrical and realistic. Hamlet and Ophelia actually look like contemporary teens. Of course, scholars debating esoteric points, such as the moment Hamlet's mother was unfaithful or whether Hamlet was truly mad, won't agree with all the interpretative details. But reading these noncondescending narratives will be a lively preparation for seeing Shakespeare on stage.
Hazel RochmanCopyright © American Library Association. All rights reserved
--This text refers to an alternate
Hardcover
edition.