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Year of the Fat Knight: The Falstaff Diaries
Year of the Fat Knight is legendary stage actor Sir Antony Sher's account—splendidly supplemented by his own paintings and sketches—of researching, rehearsing, and performing one of Shakespeare's most iconic characters for a 2014 Royal Shakespeare Company production. This follow-up to Sher's 1985 classic Year of the King is a terrific read, rich in humor and excitement, that also stands as a celebration of the craft of character acting.
208 pages, Hardcover
First published April 23, 2014
About the author
Antony Sher
20 books24 followersSir Antony Sher, born in Cape Town, South Africa on June 14th, 1949, was an actor, memoirist, playwright, painter, and novelist, best known for his performances of Shakespearean characters like Richard III, Macbeth, and Sir John Falstaff. He has performed in plays by such writers as Molière, Chekhov, Brecht, Arthur Miller, Mike Leigh, and Harvey Fierstein, and has portrayed historical figures as diverse as Primo Levi and Adolf Hitler, Benjamin Disraeli and Ringo Starr. In 1985 he received the Laurence Olivier Award for his work as Richard III, and again in 1997 for Stanley.
His writings include novels, plays, and memoirs, including Year of the King: An Actor's Diary and Sketchbook, his account of playing Richard III for the Royal Shakespeare Company, called by actor Simon Callow "the most wonderfully authentic account of the experience of creating a performance."
He was appointed a Knight Commander of the Order of the British Empire in 2000.
In 2005, Sher and his partner – director Gregory Doran, with whom he frequently collaborates professionally – became one of the first gay couples to enter into a civil partnership in the UK.
His writings include novels, plays, and memoirs, including Year of the King: An Actor's Diary and Sketchbook, his account of playing Richard III for the Royal Shakespeare Company, called by actor Simon Callow "the most wonderfully authentic account of the experience of creating a performance."
He was appointed a Knight Commander of the Order of the British Empire in 2000.
In 2005, Sher and his partner – director Gregory Doran, with whom he frequently collaborates professionally – became one of the first gay couples to enter into a civil partnership in the UK.
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Displaying 1 - 27 of 27 reviews
May 8, 2015
BOTW
http://www.bbc.co.uk/programmes/b05ssng2Description: Antony Sher recounts the year in which he created and performed his version of Shakespeare's Falstaff - despite never intending to undertake such an iconic role.
Thirty years ago, a promising young actor published his account of preparing for and playing the role of Richard III. Antony Sher's Year of the King has since become a classic of theatre literature.
In 2014, Sher - now in his sixties - was cast as Falstaff in Gregory Doran's Royal Shakespeare Company production of the two parts of Henry IV. Both the production and Sher's Falstaff were acclaimed by critics and audiences alike, with Sher winning the Critics' Circle Award for Best Shakespearean Performance.
He tells us how he had doubts about playing the part at all; how he sought to reconcile Falstaff's obesity, drunkenness, cowardice and charm; how he wrestled with the fat suit needed to bulk him up; and how he explored the complexities and contradictions of this comic yet often dangerous personality. On the way, Sher paints a uniquely close-up portrait of the RSC at work. Read by Antony Sher
1/5: Year of the Fat Knight is Antony Sher's account of researching, rehearsing and performing one of Shakespeare's best-known and most popular characters.
2/5: While rehearsing Falstaff, Sher films a scene in the Hobbit with Ian McKellen
Gandalf and Thrain - The Hobbit: The Desolation of Smaug - Extended Edition
3/5: Getting to grips with the fat suit4/5: Running two shows 5/5: After a year of rehearsals, Falstaff takes to the stage.Meet the actors - Antony Sher | Henry IV part I | Royal Shakespeare Company
Sher as Falstaff in action on the stage: Henry IV Part I | Act II Scene IV | 2014 | Royal Shakespeare Company
May 8, 2015
From BBC Radio 4 - Book of the Week:
Antony Sher recounts the year in which he created and performed his version of Shakespeare's Falstaff - despite never intending to undertake such an iconic role.
Thirty years ago, a promising young actor published his account of preparing for and playing the role of Richard III. Antony Sher's Year of the King has since become a classic of theatre literature.
In 2014, Sher - now in his sixties - was cast as Falstaff in Gregory Doran's Royal Shakespeare Company production of the two parts of Henry IV. Both the production and Sher's Falstaff were acclaimed by critics and audiences alike, with Sher winning the Critics' Circle Award for Best Shakespearean Performance.
Year of the Fat Knight is Antony Sher's account of researching, rehearsing and performing one of Shakespeare's best-known and most popular characters.
He tells us how he had doubts about playing the part at all; how he sought to reconcile Falstaff's obesity, drunkenness, cowardice and charm; how he wrestled with the fat suit needed to bulk him up; and how he explored the complexities and contradictions of this comic yet often dangerous personality.
On the way, Sher paints a uniquely close-up portrait of the RSC at work.
Read by Antony Sher
Produced by Clive Brill
http://www.bbc.co.uk/programmes/b05ssng2
Antony Sher recounts the year in which he created and performed his version of Shakespeare's Falstaff - despite never intending to undertake such an iconic role.
Thirty years ago, a promising young actor published his account of preparing for and playing the role of Richard III. Antony Sher's Year of the King has since become a classic of theatre literature.
In 2014, Sher - now in his sixties - was cast as Falstaff in Gregory Doran's Royal Shakespeare Company production of the two parts of Henry IV. Both the production and Sher's Falstaff were acclaimed by critics and audiences alike, with Sher winning the Critics' Circle Award for Best Shakespearean Performance.
Year of the Fat Knight is Antony Sher's account of researching, rehearsing and performing one of Shakespeare's best-known and most popular characters.
He tells us how he had doubts about playing the part at all; how he sought to reconcile Falstaff's obesity, drunkenness, cowardice and charm; how he wrestled with the fat suit needed to bulk him up; and how he explored the complexities and contradictions of this comic yet often dangerous personality.
On the way, Sher paints a uniquely close-up portrait of the RSC at work.
Read by Antony Sher
Produced by Clive Brill
http://www.bbc.co.uk/programmes/b05ssng2
April 30, 2020
Very interesting and accessible read about the trials of gradually building one of the most iconic characters in all of theatre. Sher comes across very open and vulnerable, writes really well and offers a lot of fascinating insight into the world of the RSC and how they go about putting together a show. Amazing the level of detail these people are working with. Everything has to be right right down to the exact tint of Falstaff's beard. As I said it's very readable and it flies past, but there were times when I wanted Sher to pause a bit longer and go more into some aspects of his rehearsal process. Or I wished he took a bit more time to engage more with some of the critical interpretations of Falstaff that come up. But this is a diary after all not a scholarly text, and it's still a pretty great reading experience.
May 17, 2016
I enjoyed this book phenomenally. It serves as a reminder of the best parts of the theater acting process, parts which are easy for an amateur like me to lose track of when I sometimes get stuck in the mire of substandard school and community theater environments.
Sher's dedication to his art is inspiring: the massive amounts of mental energy he devotes to the part, his daily habits of practice, and his constant effort to keep up to snuff all go to show that the most successful people in their field have landed where they are because they care enough to make others care.
Sher has an amazing mind. Sharp, insightful, interesting, and with a keen sense of history. The long list of names he draws up (plays and characters, actors contemporary and old, companies, directors, and famous productions) hit with total relevance, because they tell the story of classical theater in modern times. It's a story which I'm glad to have learned (and, in a small way, inhabited) after him and people like him.
I'm a Henriad freak, and I came to this book after having seen Sher in the two productions he's writing on. I share his love for and familiarity with the plays, and after having seen his productions, I even know his castmates-- whenever he mentions Alex Hassell (Prince Hal), Tony Byrne (Ancient Pistol), or Oliver Ford Davies (Robert Shallow), their faces come up clear in my mind. That's quite a treat, and a privilege, since readers seldom sync up with their authors so closely!
I highly recommend this book to anyone interested in today's classical acting, in the Henriad, or in the process of creating a show. This book was a dream after the altogether more scorned and unhappy Song of Spider-Man: The Inside Story of the Most Controversial Musical in Broadway History
Now excuse me as I prepare for my role in The Taming of the Shrew! I think you'll find I come from a long tradition of Grumios.
Sher's dedication to his art is inspiring: the massive amounts of mental energy he devotes to the part, his daily habits of practice, and his constant effort to keep up to snuff all go to show that the most successful people in their field have landed where they are because they care enough to make others care.
Sher has an amazing mind. Sharp, insightful, interesting, and with a keen sense of history. The long list of names he draws up (plays and characters, actors contemporary and old, companies, directors, and famous productions) hit with total relevance, because they tell the story of classical theater in modern times. It's a story which I'm glad to have learned (and, in a small way, inhabited) after him and people like him.
I'm a Henriad freak, and I came to this book after having seen Sher in the two productions he's writing on. I share his love for and familiarity with the plays, and after having seen his productions, I even know his castmates-- whenever he mentions Alex Hassell (Prince Hal), Tony Byrne (Ancient Pistol), or Oliver Ford Davies (Robert Shallow), their faces come up clear in my mind. That's quite a treat, and a privilege, since readers seldom sync up with their authors so closely!
I highly recommend this book to anyone interested in today's classical acting, in the Henriad, or in the process of creating a show. This book was a dream after the altogether more scorned and unhappy Song of Spider-Man: The Inside Story of the Most Controversial Musical in Broadway History
Now excuse me as I prepare for my role in The Taming of the Shrew! I think you'll find I come from a long tradition of Grumios.
May 16, 2015
BBC Book of the Week starts 04.05.
Antony Sher recounts the year in which he created and performed his version of Shakespeare's Falstaff - despite never intending to undertake such an iconic role.
Thirty years ago, a promising young actor published his account of preparing for and playing the role of Richard III. Antony Sher's Year of the King has since become a classic of theatre literature.
In 2014, Sher - now in his sixties - was cast as Falstaff in Gregory Doran's Royal Shakespeare Company production of the two parts of Henry IV. Both the production and Sher's Falstaff were acclaimed by critics and audiences alike, with Sher winning the Critics' Circle Award for Best Shakespearean Performance.
Year of the Fat Knight is Antony Sher's account of researching, rehearsing and performing one of Shakespeare's best-known and most popular characters.
He tells us how he had doubts about playing the part at all; how he sought to reconcile Falstaff's obesity, drunkenness, cowardice and charm; how he wrestled with the fat suit needed to bulk him up; and how he explored the complexities and contradictions of this comic yet often dangerous personality.
On the way, Sher paints a uniquely close-up portrait of the RSC at work.
Read by Antony Sher
Produced by Clive Brill
A Brill Production for BBC Radio 4.
Antony Sher recounts the year in which he created and performed his version of Shakespeare's Falstaff - despite never intending to undertake such an iconic role.
Thirty years ago, a promising young actor published his account of preparing for and playing the role of Richard III. Antony Sher's Year of the King has since become a classic of theatre literature.
In 2014, Sher - now in his sixties - was cast as Falstaff in Gregory Doran's Royal Shakespeare Company production of the two parts of Henry IV. Both the production and Sher's Falstaff were acclaimed by critics and audiences alike, with Sher winning the Critics' Circle Award for Best Shakespearean Performance.
Year of the Fat Knight is Antony Sher's account of researching, rehearsing and performing one of Shakespeare's best-known and most popular characters.
He tells us how he had doubts about playing the part at all; how he sought to reconcile Falstaff's obesity, drunkenness, cowardice and charm; how he wrestled with the fat suit needed to bulk him up; and how he explored the complexities and contradictions of this comic yet often dangerous personality.
On the way, Sher paints a uniquely close-up portrait of the RSC at work.
Read by Antony Sher
Produced by Clive Brill
A Brill Production for BBC Radio 4.
July 16, 2016
I found this a really interesting and enjoyable read!
FALSTAFF: No, my good lord, banish Peto, banish Bardolph, banish Poins, but for sweet Jack Falstaff, kind Jack Falstaff, true Jack Falstaff, valiant Jack Falstaff, and therefore more valiant being, as he is, old Jack Falstaff,
Banish not him thy Harry’s company,
Banish not him thy Harry’s company.
Banish plump Jack, and banish all the world.
PRINCE: I do; I will.
After going to see the Cycle of Kings at The Barbican in January this year, which included the two Henries and Antony Sher as Falstaff, I've become obsessed with this tetralogy of plays. This diary gave a really detailed insight into the preparing, rehearsing and performing of such a large part with the RSC. Having seen and read the plays so recently I felt familiar with every scene he discussed and could picture the other actors in the production.
Overall it was quick paced and well written, and the descriptions of Stratford-upon-Avon made me wish I lived there too - so idyllic. Definitely recommended for those with a love of theatre, acting or Shakespeare.
FALSTAFF: No, my good lord, banish Peto, banish Bardolph, banish Poins, but for sweet Jack Falstaff, kind Jack Falstaff, true Jack Falstaff, valiant Jack Falstaff, and therefore more valiant being, as he is, old Jack Falstaff,
Banish not him thy Harry’s company,
Banish not him thy Harry’s company.
Banish plump Jack, and banish all the world.
PRINCE: I do; I will.
After going to see the Cycle of Kings at The Barbican in January this year, which included the two Henries and Antony Sher as Falstaff, I've become obsessed with this tetralogy of plays. This diary gave a really detailed insight into the preparing, rehearsing and performing of such a large part with the RSC. Having seen and read the plays so recently I felt familiar with every scene he discussed and could picture the other actors in the production.
Overall it was quick paced and well written, and the descriptions of Stratford-upon-Avon made me wish I lived there too - so idyllic. Definitely recommended for those with a love of theatre, acting or Shakespeare.
April 2, 2020
“There are moments in the creation of a role which are like growth surges: when you suddenly feel it developing, suddenly sense it could work. Today was one of those moments.” (p. 103) So writes Sir Antony Sher in Year of the Fat Night: The Falstaff Diaries. The diary takes us from the time Sher first, and reluctantly, considered tackling the role, through opening both the Henries in 2014 at the Royal Shakespeare Theatre in Stratford-upon-Avon. The path is not a straight line. “I’m a character actor, and this is the greatest character part ever written. It presents me with a tremendous feast of the kind of acting that I like best, that I do best – it’ll take all my imagination and creativity to invent his shape, his voice, his very being, and I will enjoy doing that.” (p. 23) This early confidence when he finally decided that he could do Falstaff belies the doubts and nerves that persisted right to opening: “Yet why am I frightened – after forty fucking years in the job? It pisses me off. Well, good, I’ll get through it as I get through all pressurised situations – on anger. (p. 102)
Aside from the personal impact of confronting the character of Falstaff, there is much in this book about Shakespeare’s handiwork, genius really, that’s revealed as Sher slips into the soul of Falstaff. “Falstaff is an old warrior. A veteran soldier, turned drunk and highwayman. This makes a lot of sense to me. When Hal gives him a regiment to command, Falstaff’s behaviour is totally in keeping with someone who knows the reality of war and is thoroughly cynical about it: your soldiers are just cannon fodder.” (pp. 12 – 13) And why it’s important that Part 1 begins with both Hal and Falstaff awakening while in the rejection scene, Hal, now King Henry V, says:
I have long dream'd of such a kind of man,
So surfeit-swell'd, so old and so profane;
But, being awaked, I do despise my dream.
I do confess that I am totally smitten with Sher’s portrayal of Falstaff. It’s brilliant in the way he balances the comic buffoon aspect that’s too often pitched, with the serious aspects of Falstaff’s psyche: the need for attention, love, reassurance, together with the self-hatred and loathing that he feels for what he has become, and the genuine fear of death. Fortunately, these RSC productions are available on DVD and deserve to be watched again & again.
Seeing one of Shakespeare’s greatest characters brilliantly brought to life by one of the all-time greatest stage actors goes far to making life worth living. This book enriches the experience.
Aside from the personal impact of confronting the character of Falstaff, there is much in this book about Shakespeare’s handiwork, genius really, that’s revealed as Sher slips into the soul of Falstaff. “Falstaff is an old warrior. A veteran soldier, turned drunk and highwayman. This makes a lot of sense to me. When Hal gives him a regiment to command, Falstaff’s behaviour is totally in keeping with someone who knows the reality of war and is thoroughly cynical about it: your soldiers are just cannon fodder.” (pp. 12 – 13) And why it’s important that Part 1 begins with both Hal and Falstaff awakening while in the rejection scene, Hal, now King Henry V, says:
I have long dream'd of such a kind of man,
So surfeit-swell'd, so old and so profane;
But, being awaked, I do despise my dream.
I do confess that I am totally smitten with Sher’s portrayal of Falstaff. It’s brilliant in the way he balances the comic buffoon aspect that’s too often pitched, with the serious aspects of Falstaff’s psyche: the need for attention, love, reassurance, together with the self-hatred and loathing that he feels for what he has become, and the genuine fear of death. Fortunately, these RSC productions are available on DVD and deserve to be watched again & again.
Seeing one of Shakespeare’s greatest characters brilliantly brought to life by one of the all-time greatest stage actors goes far to making life worth living. This book enriches the experience.
October 10, 2017
Sher's recounting of building himself into Falstaff over the course of a year has the downside of being a highly privileged theatre maker whose sole bottleneck to realizing a character is himself. Thankfully Sher mostly recognizes his good fortune so there is a touch of gee-whizness to each over the top moment at the height of theatre royalty.
In and around the name dropping are the lovely bones of the thing, a very vulnerable look at the fears and joys of being asked to play one of the Icons under very watchful eyes. Falstaff is the comedic Hamlet and I think Sher gets under the skin of the choices you make very nicely.
The audience for the book is an odd beast... theatre-focused enough to appreciate the name-drops, not so connected that they won't feel twee. Acting interested enough to want to understand his choices, not so acting-interested that the top level nature of his recounting would be a tease.
Well worth the couple of hours it'll take to share his mind on the Henries.
In and around the name dropping are the lovely bones of the thing, a very vulnerable look at the fears and joys of being asked to play one of the Icons under very watchful eyes. Falstaff is the comedic Hamlet and I think Sher gets under the skin of the choices you make very nicely.
The audience for the book is an odd beast... theatre-focused enough to appreciate the name-drops, not so connected that they won't feel twee. Acting interested enough to want to understand his choices, not so acting-interested that the top level nature of his recounting would be a tease.
Well worth the couple of hours it'll take to share his mind on the Henries.
January 31, 2020
An insightful look at the process of developing a performance of one of Shakespeare's iconic roles. It is an emotional and engaging look at the honest reactions and vulnerabilities of a honored, seasoned actor facing the challenges of his own insecurities, his efforts to bring life to the sometimes archaic language, and the pure joy of successfully making Shakespeare's plays come to life for a modern audience. Highly recommended for lovers of Shakespeare, and anyone who enjoys classical theatre.
October 13, 2021
Thoroughly entertaining and at the end utterly joyful. This book describes and documents all of Sher’s concerns on playing the part of Falstaff, and there are many, this was not a role he undertook lightly. Leading the reader through the various stages of putting on a show. The book is also riddled with his own drawings, which are themselves amazing caricatures of himself and other members of the company. Wonderful
June 17, 2019
I found this a bit too 'lovey' for me, and therefore didn't overly enjoy it. It is not my sort of thing but thought I would try it to learn more about the industry. I think it did that and so I guess it was well written.
December 30, 2019
Fascinating glimpse into an actor's process as he prepares for a role and into the life of one of the UK's leading Shakepearian actors - and theatrical power couples. I enjoyed a lot. I also liked the illustrations.
July 8, 2023
A pair of seminal performances of a very entertaining Falsfaff, Anthony Sher follows up his also essential Year of the King with this late-career diary. The world has changed but his personality remains compelling as he reflects from his position as a veteran character actor.
September 25, 2018
Fascinating book on one year in the life of an actor when he became Falstaff.
February 23, 2020
Very readable, fascinating and honest account.
October 11, 2021
the indulgent sequel we all still adore
September 9, 2016
This is an excellent volume using the successful diary format already tried and tested in Year of the King. Sher is a compulsively readable writer as he talks eloquently about his approach to the unexpected gift of the role of Falstaff in the Henries. Part of the pleasure of this book is peeling away the many layers that make the whole. There is the long section at the beginning where Sher doubts he is right for the role- indeed this book really strips away the powerhouse actor to see one riddled by doubt, insecurity and the worry that he will simply be laughed at. There are sections on the process of rehearsal. Weaved through this are the aspects of his relationship with the director Gregory Doran (his partner) and the latters role as head of the RSC. In addition there are Shers thoughts on other interpretations of Falstaff and its place in the canon ("Larry never played it?").
The diary format melds all this together with descriptions of their life in Stratford and London and Shers other roles as he builds up for Falstaff.
This all makes for a heady brew and is beautifully and humanely written. Occasionally real life intervenes - (trivially) they are voted top gay power couple and (monumentally), Mandela dies.
Sher is brilliant at describing the process of rehearsals and the finding of his role as Falstaff- the research, the dynamics of rehearsal the talent of the other actors and Greg of course. He also does the diversions well- the busy life of both of them (Gregs schedule is very heavy- directing other plays as well such as Richard 11) and their appearances together at big events as well as holidays...Its a heady mix.
This could easily condemned as a luvvie fest and at one point in the book Sher deals with this head on commenting on how hard the work is.
There is also the question of the roles he does. Clearly he benefits from Dorans job. It is clear that he was a successful and starry actor before he met Greg but its the wrong question to ask why he gets so many big roles- more why are plays chosen that provide the star vehicle for him- in the book he is due to do Falstaff, Willy Loman and Lear. This is not all to do with Doran though. Many other big RSC names have gone onto success in films and TV. Sher is one of the last remaining big RSC names that hasn't done that- his film appearances are relatively few, his TV work relatively niche- hence he has flourished at what he is best at- stage and theatre acting and the RSC has capitalised on that. Indeed in the book he goes to New Zealand to be in Peter Jacksons Lord of the Rings working with McKellan only to find later that his role is completely cut from the finished version- because the film is already too long.
To summarise.this is a fine book. The prose is sparkly and muscular and gets to the heart of what it is to play a great role. Sher has to be convinced about the star status of Falstaff (rarely mentioned in a list of great roles for actors) but eventually and very late comes to see the strengths and challenge of the role. The drawings are perhaps not as effective as those in Year of the King (no Kray Twins and other nefarious villains) but they are still things of beauty and are ample evidence of Shers renaissance man status. I finished this hoping that he will do a similar book on his journey to do King Lear....which roles come after that will be of interest since Lear is the pinnacle......thats Sher lot for now.
The diary format melds all this together with descriptions of their life in Stratford and London and Shers other roles as he builds up for Falstaff.
This all makes for a heady brew and is beautifully and humanely written. Occasionally real life intervenes - (trivially) they are voted top gay power couple and (monumentally), Mandela dies.
Sher is brilliant at describing the process of rehearsals and the finding of his role as Falstaff- the research, the dynamics of rehearsal the talent of the other actors and Greg of course. He also does the diversions well- the busy life of both of them (Gregs schedule is very heavy- directing other plays as well such as Richard 11) and their appearances together at big events as well as holidays...Its a heady mix.
This could easily condemned as a luvvie fest and at one point in the book Sher deals with this head on commenting on how hard the work is.
There is also the question of the roles he does. Clearly he benefits from Dorans job. It is clear that he was a successful and starry actor before he met Greg but its the wrong question to ask why he gets so many big roles- more why are plays chosen that provide the star vehicle for him- in the book he is due to do Falstaff, Willy Loman and Lear. This is not all to do with Doran though. Many other big RSC names have gone onto success in films and TV. Sher is one of the last remaining big RSC names that hasn't done that- his film appearances are relatively few, his TV work relatively niche- hence he has flourished at what he is best at- stage and theatre acting and the RSC has capitalised on that. Indeed in the book he goes to New Zealand to be in Peter Jacksons Lord of the Rings working with McKellan only to find later that his role is completely cut from the finished version- because the film is already too long.
To summarise.this is a fine book. The prose is sparkly and muscular and gets to the heart of what it is to play a great role. Sher has to be convinced about the star status of Falstaff (rarely mentioned in a list of great roles for actors) but eventually and very late comes to see the strengths and challenge of the role. The drawings are perhaps not as effective as those in Year of the King (no Kray Twins and other nefarious villains) but they are still things of beauty and are ample evidence of Shers renaissance man status. I finished this hoping that he will do a similar book on his journey to do King Lear....which roles come after that will be of interest since Lear is the pinnacle......thats Sher lot for now.
May 7, 2016
Mounting a production of a William Shakespeare play must be similar - in a way - to curating an art exhibit at a major museum. Both are put together using many experts in design and education and the best ones - at least to me - focus on a central character or artist, with lots of supporting actors or paintings. In his book, "Year of the Fat Knight: The Falstaff Diaries", Sir Antony Sher combines writing and art to tell about the 2014 productions of "Henry IV, Part 1" and "Henry IV, Part 2", put on by the Royal Shakespeare Company, in which he played "Falstaff".
Tony Sher, the South African-born actor and author, had played many classic characters, but he had never considered - or been considered for - the role of Falstaff. The character was usually played by large actors - usually made even larger by wearing a body suit - and Tony Sher didn't feel he had the body to play this larger-than-life character. However, his civil partner, Gregory Doran, as head of the RSC, was directing the "Henry" plays and wanted Sher to play the character of Falstaff. Sher was starring in the Royal National Theatre's production of "The Captain of Kopenick" in Spring, 2013, and he began to consider the role, talking to other actors and directors about his ability to carry off the role. After much consideration, he decided to take on the challenge. His diary of the next year recounted both the soul-searching about taking the role, and then the details of how he, as an actor, and others, as cast and crew, produced this play.
I had never read about the mounting of a theatrical production and I was fascinated by the details involved in getting everything from the scenery, to the costumes, to the historical facts just right. Tony Sher also writes about how HE got into the part of Falstaff. After looking at the character and how others had played him in past productions, Sher decided to portray him as an alcoholic.
Sher is a very good writer, but he is also quite talented as an artist. The text is accompanied by drawings of other actors who have played the part of Falstaff in the past, as well as the actors and crew he was currently working with. The book, which is currently only available in e-book form, is absolutely delightful.
Tony Sher, the South African-born actor and author, had played many classic characters, but he had never considered - or been considered for - the role of Falstaff. The character was usually played by large actors - usually made even larger by wearing a body suit - and Tony Sher didn't feel he had the body to play this larger-than-life character. However, his civil partner, Gregory Doran, as head of the RSC, was directing the "Henry" plays and wanted Sher to play the character of Falstaff. Sher was starring in the Royal National Theatre's production of "The Captain of Kopenick" in Spring, 2013, and he began to consider the role, talking to other actors and directors about his ability to carry off the role. After much consideration, he decided to take on the challenge. His diary of the next year recounted both the soul-searching about taking the role, and then the details of how he, as an actor, and others, as cast and crew, produced this play.
I had never read about the mounting of a theatrical production and I was fascinated by the details involved in getting everything from the scenery, to the costumes, to the historical facts just right. Tony Sher also writes about how HE got into the part of Falstaff. After looking at the character and how others had played him in past productions, Sher decided to portray him as an alcoholic.
Sher is a very good writer, but he is also quite talented as an artist. The text is accompanied by drawings of other actors who have played the part of Falstaff in the past, as well as the actors and crew he was currently working with. The book, which is currently only available in e-book form, is absolutely delightful.
November 22, 2015
I have recently posted a review of Anthony Sher's "Year of the King", a book I first read in the 80's, shortly after it was first published. That was an account of playing Richard III, written by an actor still building his career. The contrasts (and similarities) with this work are interesting.
Here we see a fully established theatrical knight, confident in his place in the world, working on the character of Falstaff in the two parts of Henry IV. That is not to say that Sher in without insecurities. He is in the favoured position of being married to the Artistic Director of the RSC and director of the plays, and yet this simply leads to concerns about perceived nepotism. In the Year of the King he worried about his physical ability to play the part, having ruptured his Achilles while playing the fool in Lear. Here he worries about whether a short Jewish South African can play the quintessentially English fat knight. This is despite the book opening with an endorsement from Ian McKellen.
At its heart, this is a similar work to Year of the King, but that is its strength. It is the portrait of a massively talented actor putting together a performance. It is a picture of a company gradually coming together (and Sher is a very generous writer in his appreciation of those around him, both on and off stage, there is no bitchiness or backbiting). It is an account of the mechanics of rehearsals, previews, press nights and openings.
The Year of the Fat Knight, like its predecessor, is illustrated throughout by the author's own drawings and paintings. These include a series of pictures of other actors playing Falstaff, which are both very recognisable, and also have a similarity, with the fat knight himself present in all of them. Amongst others, there is a touching picture of Sher with husband Greg Doran.
In summary, this doesn't have the raw energy and excitement of the earlier book, but it instead gives a much mellower, considered view of an actor working at the top of the profession.
Here we see a fully established theatrical knight, confident in his place in the world, working on the character of Falstaff in the two parts of Henry IV. That is not to say that Sher in without insecurities. He is in the favoured position of being married to the Artistic Director of the RSC and director of the plays, and yet this simply leads to concerns about perceived nepotism. In the Year of the King he worried about his physical ability to play the part, having ruptured his Achilles while playing the fool in Lear. Here he worries about whether a short Jewish South African can play the quintessentially English fat knight. This is despite the book opening with an endorsement from Ian McKellen.
At its heart, this is a similar work to Year of the King, but that is its strength. It is the portrait of a massively talented actor putting together a performance. It is a picture of a company gradually coming together (and Sher is a very generous writer in his appreciation of those around him, both on and off stage, there is no bitchiness or backbiting). It is an account of the mechanics of rehearsals, previews, press nights and openings.
The Year of the Fat Knight, like its predecessor, is illustrated throughout by the author's own drawings and paintings. These include a series of pictures of other actors playing Falstaff, which are both very recognisable, and also have a similarity, with the fat knight himself present in all of them. Amongst others, there is a touching picture of Sher with husband Greg Doran.
In summary, this doesn't have the raw energy and excitement of the earlier book, but it instead gives a much mellower, considered view of an actor working at the top of the profession.
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May 15, 2021Reviews and more on my blog: Entering the Enchanted Castle
After Year of the Mad King, I went back in time to Sher's previous Theatre Diary about his performance as Falstaff. This one had less about his personal life and more about his uncertainty about playing the iconic character, doubts which did not show in the end (I watched the filmed performance of Henry IV Part I and he seemed totally at home, only -- in spite of his "fat suit" -- not terribly fat). It was most interesting to read about some of the artistic choices and decisions that went into the final product, including some shades of interpretation and meaning. I'd really like to read Year of the King as well now.
After Year of the Mad King, I went back in time to Sher's previous Theatre Diary about his performance as Falstaff. This one had less about his personal life and more about his uncertainty about playing the iconic character, doubts which did not show in the end (I watched the filmed performance of Henry IV Part I and he seemed totally at home, only -- in spite of his "fat suit" -- not terribly fat). It was most interesting to read about some of the artistic choices and decisions that went into the final product, including some shades of interpretation and meaning. I'd really like to read Year of the King as well now.
July 15, 2016
What a wonderful, immersive read! I am always intrigued by 'process', meaning where an artist, writer or performer shares the work of creating. Each has a unique discipline, all fascinating, even inspiring. Here Sher brings you into the process and along the journey with him, day by day, as he creates Falstaff for the RSC productions of Shakespeare's 'Henry IV Parts I and II'. In the end, you have such a deep understanding of the plays, and admiration of Sher's skill, intelligence and talent.
And who doesn't like the peek behind the curtain of a compelling theater production and those glorious beings who make the magic happen?
I just wish I had seen the production - with Sher as Falstaff - when it was brought to NYC for a limited run this past spring. ACK! Hopefully there is an HD broadcast version to be found and viewed somewhere.
I read this for Pop Sugar 2016 Reading Challenge, first book I saw in bookstore (Drama Book Shop in NYC). Highly recommend to any lover of the theater, but especially all who perform or wish to.
And who doesn't like the peek behind the curtain of a compelling theater production and those glorious beings who make the magic happen?
I just wish I had seen the production - with Sher as Falstaff - when it was brought to NYC for a limited run this past spring. ACK! Hopefully there is an HD broadcast version to be found and viewed somewhere.
I read this for Pop Sugar 2016 Reading Challenge, first book I saw in bookstore (Drama Book Shop in NYC). Highly recommend to any lover of the theater, but especially all who perform or wish to.
October 7, 2016
At the start of the year I read Antony Sher's diaries about him preparing to play Richard III and enjoyed them immensely. I'm glad to say that this book is equally as good. This time Sher writes about playing Falstaff in Henry IV parts I & II. Considering he is one of this country's greatest actors, the thing that strikes you is how much he is wracked by uncertainty. Right up until opening night he thinks he won't be able to pull the part off, but as we know now the plays were a great success & were very well reviewed. The whole account of preparing for the role is so damn absorbing & engrossing, and I hope that he gets to publish more of these books (perhaps one on Willy Loman & King Lear - that would be a fascinating insight).
August 14, 2015
Self-importance and self-indulgence are common in many fields, especially those characterized as creative or intellectual, as well as in memoirs and journals. The worries of an actor on how to play Falstaff as an alcoholic certainly tick all these boxes. The book would have failed to interest me even if I was keen on acting. The problem is not only the subject but also the largely humourless, self-centred was the author talks to us. The RADA do at Buckingham Palace, where he cannot stop telling about his rejection by RADA explains why I failed to like this book.
August 5, 2015
I really enjoyed this book. It's a series of diary entries from Antony Sher as he prepares to play Falstaff at the RSC. He has also included many beautiful sketches of himself and his fellow actors. I may have had more of an interest as I was lucky enough to see him play Falstaff twice. However, I think this is an interesting and often humorous insight into an actor's preparation for a Shakespearean role, even for those who didn't see the production.
April 7, 2016
A fascinating insight behind the scenes of an RSC production. We saw these plays in 2014 and reading about the rehearsals and decsions they made is really interesting. Told through a series of diary entries Antony Sher guides us through the start of getting the part and creating the character up to the first night.
Interesting, no-holds-barred, read 4 stars
Interesting, no-holds-barred, read 4 stars
May 10, 2016
I was fortunate to see Anthony Sher's Falstaff in Brooklyn last month, so I found his acting diary an absolute delight. It's a great look at the inside workings of the Royal Shakespeare Company, as well as a chance to see how an actor prepares for a role, and how Sher's understanding of Falstaff radically shifted as he got to know the character.
October 23, 2015
A pretty darn wonderful story of of Antony Sher's essay of Falstaff for the Royal Shakespeare Company from the time he fought against accepting the part until shortly after the opening. Great insights into Falstaff, the Henry IV plays, the workings at the RSC, and Shakespeare's as a writer.
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