BEGIN:VCALENDAR VERSION:2.0 PRODID:-//InvisionCommunity Events 4.7.23//EN METHOD:PUBLISH CALSCALE:GREGORIAN REFRESH-INTERVAL:PT15M X-PUBLISHED-TTL:PT15M X-WR-CALNAME:RMCommunityCalendar NAME:RMCommunityCalendar BEGIN:VTIMEZONE TZID:Europe/London TZURL:http://tzurl.org/zoneinfo/Europe/London X-LIC-LOCATION:Europe/London BEGIN:DAYLIGHT TZOFFSETFROM:+0000 TZOFFSETTO:+0100 TZNAME:BST DTSTART:20260329T020000Z RRULE:FREQ=YEARLY;BYMONTH=3;BYDAY=-1SU END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:+0100 TZOFFSETTO:+0000 TZNAME:GMT DTSTART:20261025T020000Z RRULE:FREQ=YEARLY;BYMONTH=10;BYDAY=-1SU END:STANDARD END:VTIMEZONE BEGIN:VEVENT SUMMARY:Thomas More by Ian McKellen from Shakespeare DTSTAMP:20260205T231420Z SEQUENCE:0 UID:645-7-c3fe8195a3dde498d013e477e2142422@aalbc.com ORGANIZER;CN="richardmurray":troy@aalbc.com DESCRIPTION:\n PREFACE\n\n\n\n Enjoy this speech on tolerance to the Str anger\, commonly called the immigrant today\,  with the argument that one who does not tolerate or treat positively the stranger if a stranger them selves would cry inhumanity at being treated as said one treats the strang er.   \n\n\n\n  \n\n\n\n IAN MCKELLAN AS THOMAS MORE\n\n\n\n  \n\n\n\n \n\n\n\n Video transcript\n\n\n\n 20:51\n\nUm\n\n20:53\n\nShakespeare uh wrote many plays\, 37 of\n\n20:56\n\nthem by himself\, but he also contri buted\n\n20:58\n\nto other people's shows. uh and uh one\n\n21:02\n\nof th e speeches he wrote for a play\n\n21:04\n\ncalled Thomas Moore\n\n21:06\n\ nuh has been preserved and it's the only\n\n21:10\n\nsample of his actual handwriting of some\n\n21:13\n\nof the words of a play by him and it's\n\n 21:16\n\nnot in the Fulier Library. It's in the\n\n21:18\n\nBritish Librar y. You can see it. It's on\n\n21:21\n\ndisplay there in London. And it hap pened\n\n21:23\n\nthat the play was never performed during\n\n21:25\n\nSha kespeare's lifetime because it was\n\n21:26\n\nthought to be a bit sedicio us.\n\n21:29\n\nIt had its actual premiere on stage in\n\n21:34\n\n1964 wa s the 400th anniversary of\n\n21:36\n\nShakespeare's birth and I played Th omas\n\n21:39\n\nMoore. So you are looking at a man\n\n21:43\n\n[applause] \n\n21:45\n\nwho uh who created a part by William\n\n21:48\n\nShakespeare. \n\n21:48\n\nSo this is handwritten. They know this\n\n21:50\n\nis his han dwriting of this monologue\n\n21:52\n\nthat you did\n\n21:53\n\nof a of a speech you probably don't know\n\n21:56\n\nbut you ought to because it's a \n\n21:57\n\nwonderful\n\n21:58\n\nI don't know that. Would you mind? Woul d\n\n22:00\n\nyou mind doing it for us?\n\n22:03\n\n[cheering]\n\n22:05\n\ n[applause]\n\n22:05\n\nNo\, I wouldn't. I I wouldn't mind\n\n22:07\n\nbec ause you'll enjoy it.\n\n22:11\n\nAll right. Live theater.\n\n22:13\n\nYes .\n\n22:14\n\nWhat's it [cheering] what's what's\n\n22:14\n\nwhat's the se tting? What's it take place\n\n22:16\n\nin the play?\n\n22:17\n\nUh it it this it's all happening 400\n\n22:20\n\nyears ago. Uh and in London\, ther e's a\n\n22:22\n\nthere's a riot happening. There's a mob\n\n22:24\n\nout in the streets and they're\n\n22:26\n\ncomplaining about the the presence of\n\n22:29\n\nstrangers in London\, by which they mean\n\n22:32\n\nthe re cent uh immigrants who've arrived\n\n22:36\n\nthere. And they're shouting the odds and\n\n22:39\n\ncomplaining and saying that the\n\n22:41\n\nimmig rants should be sent back home\n\n22:43\n\nwherever they came from. And uh the\n\n22:47\n\nauthorities send out this young lawyer\,\n\n22:49\n\nThom as Moore\, to put down the riot\,\n\n22:50\n\nwhich he does in two ways. o ne by saying\n\n22:54\n\nthat you can't riot like this. It's\n\n22:56\n\na gainst the law. So\, shut up\, be quiet.\n\n22:59\n\nUh and also being by Shakespeare with an\n\n23:01\n\nappeal uh to their humanity.\n\n23:05\n\nS o\, in order to set it up\, we really\n\n23:07\n\nneed somebody to shout t hat the\n\n23:08\n\nstrangers should be removed. Could\n\n23:11\n\nsomeone do that?\n\n23:14\n\nGrant them removed.\n\n23:19\n\nAnd grant that this your noise hath chid\n\n23:22\n\ndown all the majesty of England. Imagine\ n\n23:24\n\nthat you see the wretched strangers\,\n\n23:26\n\ntheir babies at their backs\, with their\n\n23:29\n\npoor luggage\, plotting to the po rts and\n\n23:31\n\ncoasts for transportation\,\n\n23:34\n\nand that you s it as kings in your\n\n23:36\n\ndesires\, authority quite silenced by\n\n2 3:38\n\nyour brawl\, and you in rough of your\n\n23:41\n\nopinions clothed . What had you got?\n\n23:46\n\nI'll tell you\,\n\n23:48\n\nyou had taught how insulence and strong\n\n23:50\n\nhands should prevail\, how order sho uld\n\n23:52\n\nbe quelled.\n\n23:54\n\nAnd by this pattern\, not one of y ou\n\n23:55\n\nshould live an aged man. For other\n\n23:57\n\nruffians\, a s their fancies wrought with\n\n23:59\n\nself-same hands\, self-reason\, a nd\n\n24:02\n\nself-right\,\n\n24:04\n\nwould shark on you\, and men like\ n\n24:06\n\nravenous fishes feed on one another.\n\n24:10\n\nYou'll put do wn strangers\, kill them.\n\n24:16\n\nCut their throats\,\n\n24:19\n\nposs ess their houses.\n\n24:22\n\nOh\, desperate as you are\, wash your foul\n \n24:24\n\nminds with tears.\n\n24:26\n\nAnd those same hands that you\, l ike\n\n24:28\n\nrebels\, lift against the peace\, lift up\n\n24:30\n\nfor peace. And your unreverent knees\,\n\n24:32\n\nmake them your feet to knee l to be\n\n24:34\n\nforgiven.\n\n24:37\n\nAnd say now the king\,\n\n24:40\ n\nas he is clement\, if the offender mourn\,\n\n24:42\n\nshould so much c ome too short of your\n\n24:44\n\ngreat trespasses but to banish you\n\n24 :48\n\nwith thee would you go?\n\n24:52\n\nWhat country by the nature of y our error\n\n24:54\n\nshould give you harbor? Go you to France\n\n24:57\n\ nor Fllanders\, to any German province\,\n\n25:00\n\nSpain or Portugal\, a nywhere that not\n\n25:02\n\nadheres to England. Why?\n\n25:07\n\nYou must needs be strangers.\n\n25:11\n\nWould you be pleased\n\n25:14\n\nto find a nation of such barbarous\n\n25:16\n\ntemper that breaking out in hideous \n\n25:18\n\nviolence would not afford you an abroad\n\n25:21\n\non earth? \n\n25:23\n\nQuet their detested knives against your\n\n25:25\n\nthroats.\ n\n25:27\n\nspurn you like dogs\, and like as if that\n\n25:30\n\nGod owne d not\, nor made not you\, nor\n\n25:33\n\nthat the elements were not all\ n\n25:35\n\nappropriate to your comforts\, but\n\n25:38\n\nchartered unto them.\n\n25:42\n\nWhat would you think\n\n25:44\n\nto be thus used?\n\n25: 49\n\nThis\n\n25:50\n\nis the strangest case and this your\n\n25:56\n\nmou ntedness\n\n25:57\n\nin humanity.\n\n26:02\n\nWilliam Shakespeare 400 year s ago.\n\n26:05\n\n[cheering]\n\n26:10\n\n[cheering and applause]\n\n26:12 \n\nThank you.\n\n26:15\n\nTickets [cheering] to an art are\n\n26:16\n\nav ailable now in the town. Everybody\,\n\n26:19\n\nwe'll be right back with a performance\n\n26:21\n\nby Earth.\n\n26:25\n\n[music]\n\n26:34\n\n[music ]\n\n26:37\n\n[cheering]\n\n\n\n\n  \n\n\n\n Monolog official\n\n\n\n \"G rant them removed\, and grant that this your noise\nHath chid down all the majesty of England\;\nImagine that you see the wretched strangers\,\nThei r babies at their backs with their poor luggage\,\nPlodding to the ports a nd coasts for transportation\,\nAnd that you sit as kings in your desires\ ,\nAuthority quite silenced by your brawl\,\nAnd you in rough of your opin ions clothed\;\n\nWhat had you got? I'll tell you: you had taught\nHow ins olence and strong hand should prevail\,\nHow order should be quelled\; and by this pattern\nNot one of you should live an aged man\,\nFor other ruff ians\, as their fancies wrought\,\nWith self same hand\, self reasons\, an d self right\,\nWould shark on you\, and men like ravenous fishes\nWould f eed on one another.\n\nO\, desperate as you are\,\nWash your foul minds wi th tears\, and those same hands\,\nThat you like rebels lift against the p eace\,\nLift up for peace\, and your unreverent knees\,\nMake them your fe et to kneel to be forgiven!\n\nYou'll put down strangers\,\nKill them\, cu t their throats\, possess their houses\,\nAnd lead the majesty of law in l iom\,\nTo slip him like a hound. Say now the king\n(As he is clement\, if th' offender mourn)\nShould so much come to short of your great trespass\n As but to banish you\, whether would you go?\n\nWhat country\, by the natu re of your error\,\nShould give you harbor? go you to France or Flanders\, \nTo any German province\, to Spain or Portugal\,\nNay\, any where that no t adheres to England\,—\n\nWhy\, you must needs be strangers: Would you be pleased\nTo find a nation of such barbarous temper\,\nThat\, breaking o ut in hideous violence\,\nWould not afford you an abode on earth\,\nWhet t heir detested knives against your throats\,\nSpurn you like dogs\, and lik e as if that God\n\nOwed not nor made not you\, nor that the claimants\nWe re not all appropriate to your comforts\,\nBut chartered unto them\, what would you think\nTo be thus used? this is the strangers case\;\nAnd this y our mountainish inhumanity.\"\n\n\n\n\n  \n\n\n\n referral\n\n\n\n https: //www.out.com/gay-tv-shows/sir-ian-mckellen-shakespeare-stephen-colbert#re belltitem3\n\n\n\n  \n\n\n\n BACKGROUND\n\n\n\n Thomas More wasn't record ed as being staged during shakespeares life. The earliest recordings of it being staged are as follows.\n\n\n\n \n 1922 a three-night student prod uction by the Birkbeck College\, University of London\, in December\n \n \n 1938  40 students at the King's School\, Canterbury\, 4–6 Novembe r \, with P. D. V. Strallen in the title role. \n \n \n 1954 22–29 Ju ne at the London Theatre Centre for the Advance Players Association. It wa s first performed in Elizabethan costumes and then in modern dress\, with Michael Beint as More\n \n \n 1964 McKellen also played the role at the  Nottingham Playhouse 10 June–4 July \n \n\n\n\n  \n\n\n\n Shakespea re's only surviving playscript now online\nThe Booke of Sir Thomas Moore d oes not immediately spring to mind as among Shakespeare's masterpieces. So what do we know about it?\n\n8 July 2020\nBlog series Medieval manuscript s blog\n\nAuthor Julian Harrison\, British Library\n\nThe Booke of Sir Tho mas Moore does not immediately spring to mind as among Shakespeare's maste rpieces. This late 16th or early 17th-century play is not always included among the Shakespearean canon\, and it was not until the 1800s that it was even associated with the Bard of Avon. So what is the connection with Wil liam Shakespeare\, the author of the more distinguished Hamlet\, Macbeth a nd Romeo and Juliet?\n\nA page of The Booke of Sir Thomas Moore\, arguably in Shakespeare's handwriting\nIn 1871\, William Shakespeare's handwriting was identified on this page of The Booke of Sir Thomas Moore: Harley MS 7 368\, f. 9r.\n\nA clue is presented by the handwriting of the surviving ma nuscript (Harley MS 7368). There are 22 leaves in question\, 13 of which a re original\, 7 are inserted leaves\, and 2 are pasted slips. What is imme diately apparent is that Thomas Moore was the work of several dramatists. The primary hand is that of Anthony Munday (d. 1633)\, and he was possibly assisted by the printer\, Henry Chettle (d. 1603–07)\, with further con tributions by Thomas Dekker (d. 1632)\, and perhaps by Thomas Heywood (d. 1641). The handwriting of yet another scribe in the manuscript\, known by scholars as the unspectacularly named 'Hand D'\, is possibly none other th an Shakespeare himself. Finally\, the manuscript is known to have been cen sored in turn by Edmund Tilney (d. 1610)\, Master of the Revels.\n\nThe di vision of the handwriting can be set out as follows. 'Hand D' (probably Sh akespeare) contributed an addition on ff. 8r–9v\, supplying lines 1–16 5 of Scene 6.\n\n‘Hand S’: Anthony Munday\n‘Hand A’: probably Henr y Chettle\n‘Hand B’: probably Thomas Heywood\n‘Hand C’: an unident ified professional scribe\n‘Hand D’: probably William Shakespeare\n‘ Hand E’: probably Thomas Dekker\nIt was not at all unusual for early mod ern dramatists to collaborate in this way. William Shakespeare is known to have written in partnership with John Fletcher (d. 1625) and others\, and it would have been logical for Munday to have turned to his fellow playwr ights to advise and assist him when revising his play about Sir Thomas Mor e (1478–1535)\, the early Tudor Lord Chancellor\, humanist and martyr. W hat is exceptional here\, of course\, is that Harley MS 7368 is the only i dentifiable example of Shakespeare's contribution to a playscript survivin g in manuscript. None of his other plays have been transmitted to us in th is way. What is more\, in these pages we can perhaps see the master playwr ight at work\, musing\, composing and correcting his text: a window into S hakespeare's dramatic art\, as it were. \n\nText on brown paper. Harley MS 7368\, f. 8v.jpg\nAnother page from Shakespeare's probable contribution t o The Booke of Sir Thomas Moore: Harley MS 7368\, f. 8v. Harley MS 7368\, f. 8v.jpg\n\nThere is a remarkable sub-text to William Shakespeare's contr ibution to Thomas Moore. Andrew Dickson\, in an article ('Wretched Strange rs') for the British Library's Discovering Literature site\, has noted how William Shakespeare was presumably called upon by Munday to write the mos t emotional passage in the play\, known as the 'insurrection scene'. Drawi ng upon events in 1517\, when rioting Londoners demanded that immigrants b e expelled from England\, Shakespeare portrayed Sir Thomas More\, as mayor of London\, pleading with the crowd to accept the asylum seekers.\n\nImag ine that you see the wretched strangers\,\n\nTheir babies at their backs\, with their poor luggage\,\n\nPlodding to th’ ports and coasts for trans portation\,\n\nAnd that you sit as kings in your desires\,\n\nAuthority qu ite silenced by your brawl ...\n\nThis was all the more remarkable when on e realises that similar xenophobic riots had occurred in London in the 159 0s and 1600s. Was Shakespeare making a case in The Book of Thomas Moore fo r racial tolerance? By putting words into Thomas More's mouth\, was he mak ing a barbed attack upon the prejudice of his own day?\n\nThe Book of Thom as Moore was probably never performed in the time of its authors. The Eliz abethan censor\, Edmund Tilney\, took serious dislike to the playscript\, and it seems to have been banned from public performance. The manuscript i nstead passed into the Harley library and was then sold to the British nat ion in 1753\; it might have remained in oblivion were it not that Shakespe are's style\, and hence his own handwriting\, was first recognised in the 'insurrection scene' in 1871.\n\n\n\n\n referral\n\n\n\n https://www.bl.uk /stories/blogs/posts/shakespeares-only-surviving-playscript\n\n\n\n  \n\n \n\n Photos of shaekspeare's script\, aka don't give your child guff about their handwriting again\n\n\n\n \n\n\n\n  \n\n\n\n \n\n\n\n  \n\n\n\n M ORE ABOUT THE PLAY\n\n\n\n  \n\n\n\n Referral\n\n\n\n https://en.wikipedi a.org/wiki/Sir_Thomas_More_(play)\n\n DTSTART;VALUE=DATE:20260205 RRULE:FREQ=YEARLY;INTERVAL=1 END:VEVENT END:VCALENDAR