A Secret Legacy: How Shakespeare Still Haunts the Stage
Designing Shakespeare Through the Ages at The McNay Museum
Written by Isabelle Perez
When I used to read William Shakespeare’s books, I never thought I would be able to get a firsthand experience, as if I was a character in one of the stories. I know it is unbelievable but hear me out. When I walked into the gallery, I felt like I had entered a whole new world, one where Shakespeare was alive in. (Hold on, what gallery, you may ask,) Designing Shakespeare Through the Ages is on view at the McNay Museum from March 27, 2025, to July 6, 2025. That’s right! Come see for yourself and experience the exhibitions drama and artistry.
Look, I have never been a fan of Shakespeare’s work, so I have no true credit for what I am saying. But my job is not to glorify what I have seen on display, it is to express my true thoughts about this particular exhibition, and immerse myself into the experience so that you can decide whether this exhibition is something that would be of your worthwhile.
As I approached the tall, wooden doors of the Designing Shakespeare Through the Ages exhibition, I was met with the intense gaze of the man himself, William Shakespeare. The curatorial decision, by curators Remus Moore and Rene Paul Barilleaux, to create this introductory panel plays a crucial role in shaping how the public interacts with the exhibit. For example, I stood in front of the entrance door where white, natural light highlighted the panel, I was driven to read it all, almost like the first page of one of Shakespeare’s books. Otherwise, I knew that I would be unable to understand anything going on within the rest of the pages. I took a moment to consider the pros and cons of this decision, one pro being that the biography, accomplishments, and content warning included are useful to those who need a Cliffs Notes refresher or are part of a younger audience.
It might be a little difficult to read the content warning from the panel in the photograph that I included of it, so I figure I should include a transcribed version here.
(Please note that this exhibition contains frank discussions of bigotry and racism around Othello, and The Merchant of Venice. Additionally, Romeo and Juliet, Macbeth, and Othello include instances where suicide is part of the plot. Please be mindful of your mental health if these topics are difficult for you.)
I do applaud this; content warnings certainly help visitors to prepare for potentially sensitive or distressing material. In my own opinion, I felt that this makes the museum space welcoming, while also creating an accessible experience where visitors can feel safe. Others would say otherwise that content warnings are not necessary or effective. But I would argue that this allows individuals to make informed decisions about how they engage with the content.
I considered it for a major con to be that, while I stood to the side to read the panel, I noticed that some people who came into the exhibit took a second to look at it but did not bother to read it. I admit that the words on this introductory panel were far too long of a paragraph and might cause the public to dismiss its influence on the experience. I took a glance around the room to get a feel for the environment I entered, I felt the dimness of the lights hug around me, the shadows cast around the corners of each frame dance in harmony, and the intricate harpsichord melodies, sweeping violins, and grand orchestral arrangements stepped me back into a candlelit ballroom that reflect the timeless era of the 1600’s.
As I walked around the room, I took my time to appreciate original costume designs, illustration of scene acts, including their designs and theoretical projects. Along with each, I encountered insightful background information detailing the history, significance, and a summarized story about its importance in the play it was designated to. Being able to see all the effort it took, leads me to appreciate Shakespeare’s plays. I was left speechless about the accessibility of the information because there were full English and Spanish translations. (Talk about multilingual inclusivity AND inclusive museum curation!) I love to see that diverse audiences can share a common experience!
The works presented in this exhibition have been grouped together in a way that appears completely intentional and consistent with the narrative that the curators were interested in conveying. This narrative I mention, is about “exploring Shakespeare’s plays and their ever-evolving interpretations.” The organization of the exhibit of Shakespeare’s plays, follows as is: Hamlet, Macbeth, Romeo and Juliet, Twelfth Night, The Tempest, Othello, The Merchan of Venice, and King Lear. The gallery walls are divided into sections, each dedicated to a different play and showcasing the original designs created during the creative development process. I genuinely appreciate this, as it helps me to connect with the play I am exploring and understand its significance within the exhibition.
The organization is perfect! This sequence of Shakespeare’s plays enhances my understanding of the narratives through thoughtful design choices.
Take my hand, get ready as you step into the grand stage where Shakespeare’s world unfurls with me. Where daggers gleam, love ignites, and fate itself trembles under the weight of words. Prepare thyself for a journey through passion and peril, where soliloquies strike like lightning and shadows whisper secrets only the brave dare to hear! (There is a lot, but I don’t want to spoil it like your friend spoils movies before you even get to see them. I have one, my sister, shhh don’t tell her I said that. So, I am only choosing one work, my favorites, from each section to share with you.)
Starting with Hamlet, the painting that stood out to me the most was Edward Gordon Craig, Scene design for Hamlet greeting the actors (players), Act III, scene 2, in Hamlet, ca. 1909. The varying shades of blue in this watercolor painting create a bold frame around the tall buildings that surround the figures who are the focal points of the scene. The sharp, angled lines of red, orange, and yellow cast across the white building to the left, as if it is the only source of light amidst the dimness from the dark blue night sky. The silhouettes of three people in the bottom left corner stand behind the dark figure of a man with a long, black cape with his arm extended out while in a warrior posture. There is communication between the man with the cape and 5 figures wearing bold, vibrant feather-like costumes as their posture mimic the alertness of the caped man. The background of the painting is so serene while there is action between the central figures. Out of all the works displayed for Hamlet, this one caught my eye because of its bright and sharp elements. I felt like I was watching this scene play out in third person as I sat in a metaphorical theatre.
I made my way over to the next wall, full of costume and scenic designs from the Macbeth play. There she is, a slender woman, who you might know as Lady Macbeth. Dierdre Clancy, Costume design for Lady Macbeth in Macbeth, 1971 is a work made from watercolor, ink and graphite on paper. The soft but precise shades marked by the materials the artist used resulted in a clear representation of the woman’s characteristics. The long, gray dress has a cut that starts at the side of the underarm flowing all the way down to her ankles. The ruffle on her left shoulder is distinguishable from the rest of her dress. Her long, flowing hair presses close to her clothing and her right hand is lifted to her chest as she holds her left wrist with the right. I sense timidness, maybe you would see differently. Although this is just a costume design sketch, it captures Lady Macbeth’s essence.
The artworks inspired by Hamlet and Macbeth reflect Shakespeare’s evolving approach to storytelling and theatrical design, marked by brooding, existential imagery. In contrast, the artistic interpretations of Romeo and Juliet transition into romantic and emotional themes, highlighting the shift in tone and visual expression between these plays.
The feminine romantic style of the dress that Roger Furse, Costume design for Claire Bloom as Juliet in Romeo and Juliet, ca. 1952 encapsulates, shifts the way that I perceive this design. I never thought about how minute details, like the patterns of a costume, influence the way that a character comes across to an audience. First impressions are always the most important, they do not exclude characters any less than real people. The tiny, rectangular piece of paper where the sketch rests is attached to a baby blue Victorian fabric swatch. The swatch enhances dramatic flair and adds theatricality to this everyday piece of paper. What I found interesting (I cringe using this word, interesting, it is so abstract and overused) is that the artist included a fabric swatch of the material which the dress is made of. Though separated by a transparent glass, I feel an immediate connection to the artist’s process, as if I’ve been invited into their creation. I can almost imagine being in the same room with Furse, engaged in conversation as he works on this dress.
“Alas, I turn my back. There is a world elsewhere.”
— Shakespeare from Coriolanus
The next stop is that of a fantastical world where I am transported to the Twelfth Night. The magical and introspective qualities of scenic illustrations are seen in Jane Greenwood, Costume design for Viola in Twelfth Night, 1968. Greenwood used Gouache, metallic paint, and graphite on paper. If you ask me, gouache transforms this sketch through its rich quality and blesses the artist with softened brushwork, identified in the sun yellow, cougar brown, and night sky black. The longer that I looked at the dress, I noticed how the artist layered and reworked the gouache medium throughout. The metallic paint added to the lifted front of the dress shimmers, while adding life to the frontal piece. The metallic creates an ethereal glow and the smoky shading of the graphite shine even more against the metallic paint. This design showcases Greenwood’s mastery in theatrical costume creation and reflects the play’s themes of transformation and disguise, while placing emphasis on the dramatic effects through a visually striking costume sketch.
As I conclude my walkthrough of the works that have most profoundly shaped my perspective on Shakespeare, I find myself left with an open-ended journey, one that invites reflection on the whirlwind of tragedy, romance, fantasy, as well as the moral dilemmas of justice and mercy. I had questioned where the classical music in the background came from. To my surprise, around the corner, was a large projector screen that played “MUSIC INSPIRED BY SHAKESPEARE,” “SHAKESPEARE IN OPERA AND BALLET,” on a continual loop. There was a tiny, black bench lined up with the wall, I took a moment to watch, then closed my eyes. The projected imagery creates an animated visual landscape that increased my engagement with the exhibition content in a cinematic way. The lighting and soft glow from the projections influenced my perception of the space. Most importantly, the display of videos and music added to a participatory experience for me as a visitor.
I find myself left with a deep sense of reflection. The works I have encountered have not only deepened my appreciation but have also challenged the way I interpret themes of love, justice, and human nature. This exhibition holds the power to reshape existing interpretations, it offers a sneak peek behind the curtain, revealing the effort and innovation that laid the foundation for theatre as we know it today. My experience, much like Shakespeare’s own, remains indefinite, urging me to continue questioning, redefining, and exploring my understanding of his legacy.