It was early in 1593, during one of Will Shakespeare’s
frequent home visits to Stratford after he had based himself in London, that
the subject of his ongoing career came up in the conversation.
“So how’s the playwrighting going?” asked his wife Anne.
“It could be better”, Will replied. “I’ve done four history
plays, to wit three Henry VIs and Richard III, and I’ve just tried turning my hand
to comedy.”
“That sounds promising,” said Anne. “Everybody likes a good
laugh.”
“I agree”, said Will, “but they seem to get more giggles
watching Richard III than The Comedy of Errors”.
“Bit of a flop then?”
“Could be. And then
there’s the fact that it needs two sets of identical twins – finding one set of
twin actors in London is bad enough, but two?”
“So what’s your plan, Will?”
“I’m thinking of jacking in the theatricals lark”, Will
replied. “I need a new direction for my talents, so I’m planning on retraining
for a completely new career.”
“Which is?”
“Hitman.”
“You what?”
“Hitman. Paid assassin. There must be plenty of
opportunities with all the plots against Queen Elizabeth. Her spies are very
good at tracking down the baddies, but they need people to do the actual job of
bumping them off. I could do that.”
“But you’ve never killed anyone”, said Anne.
“I've had a few murders in my plays”, said Will. “Richard
III was full of them. But you’re right – I need a proper training course in
dagger skills and that sort of thing. I’ll have a word with some of my fellow
playwrights when I’m next in London – I’m sure they could point me in the right
direction.”
So that was what he did. A few weeks later he was to be
found at a pub in Deptford, knocking back the ale with Thomas Kyd, Ben Jonson
and Christopher Marlowe. This was a regular get-together when they were all in
town. They quite often took part in the pub quizzes and played a game or two of
darts before they got too drunk to aim properly and were a danger to any
passer-by.
They were all a bit surprised that Will Shakespeare was
proposing to give up writing plays, as they all reckoned that he could make a
proper go of it if he really took it seriously, but saw no problem with him
becoming a paid assassin. Tom Kyd and Kit Marlowe had both written plays that
contained a vast amount of violence, not to mention many and various ways of
doing somebody to death. If Will wanted a few tips, he had come to the right
people.
“Mind you”, said Kit, “You’ll probably want to be a bit less
imaginative than some of my characters were. The red-hot poker up the backside
technique, as in “Edward II”, although doubtless highly satisfying – for the
hitman that is, not the victim – might be a trifle impractical for real
purposes. I recommend sticking with daggers – in both sense of the phrase.”
“As it happens,” said Tom, “I just happen to have one of my
stage daggers with me. You know – the sort that has a retractable blade. They
look so effective when combined with copious amounts of pig’s blood. If I don’t
get half the front row passing out with shock I always reckon I’ve failed.”
“You could practice on Kit”, said Ben. “Suppose he’s your
target. Just creep up behind him and stab him in the neck. You OK with that,
Kit?”
“No problem”, said Kit. “That’s a really good stage dagger,
by the way. It looks just like the real thing.”
So Will followed Ben’s instructions and duly plunged the
dagger into Kit Marlowe’s jugular. Kit’s response was immediate. He gave a loud
cry and slumped forward, with blood spurting all over the place.
“Wow!” said Ben. “That’s just brilliant. I never realized
you were such a good actor, Kit. And where did you get all that pig’s blood
from? It’s very realistic!”
“Just one little thing, Tom”, Will said. “Didn’t you say
that the blade was supposed to retract into the handle? I’m not completely sure
that it did.”
“Whoops”, said Tom. “I think you’re right. I might have to take
this dagger back to the shop I bought it from. They seem to have sold me a dud.
It’s a shame about Kit, though”.
“How can you tell a stage dagger from a real one?” Ben asked.
“Easy”, said Tom. “Stage daggers always have a green band
round the handle.”
“This one has a red band.”
“You sure?”
“Certain”, said Ben. “That band is red.”
“Well, what do you know?” said Tom. “I always wondered if I
might be red/green colour-blind. Now I have the answer.”
“Might I suggest”, said Ben, “that we put off any further
discussion for the time being? I have an inkling that it might not be good for
our health to be found in a pub alongside the dead body of a renowned
playwright, so let’s make ourselves scarce.”
Once they had done precisely that, and after a few days’
reflection, Will decided that the hitman idea was probably not such a good one
after all, especially after he had seen a performance of Thomas Kyd’s “The
Spanish Tragedy”, with its constant portrayal of hangings and stabbings, plus a
character biting off his own tongue.
The audience reaction was so enthusiastic that Will
determined to go one better, which was why he returned to playwrighting and
produced the graphically grisly “Titus Andronicus” not long afterwards. The
rest, as they say, is history.
© John Welford