Upstart Crow Series 2 (review)

I wonder how much time over the course of his career William Shakespeare spent on the commute between London and Stratford-upon-Avon.

For all of the critical conjecture about Shakespeare's pre-1592 "lost years," we rarely hear discussion of the lost hours and weeks—even months—of his professional existence that Shakespeare must have spent embroiled in the three- or four-day journey between work and his family home. How might those trips have shaped him? Was he, like so many of us, frustrated by unexpected delays caused by "unusually wet leaves" on the track? Might he, too, have suffered the slings and arrows of outrageous coach replacement services?

Such scenarios are the subject of one of the best running gags in Ben Elton's irreverent Shakespeare sitcom, Upstart Crow, the second series of which aired last autumn on BBC Two. To get a sense of the show's comedic flavor one need look no further than the scenes in which Will (David Mitchell, in full Soapboxflow) greets his wife (the inimitable Liza Tarbuck) by ranting and raving about the deficiencies of sixteenth-century public transport: "Had to stand the whole way," spits the masterful observer of transcendent human complexities, with the righteous indignation of the delayed commuter. "Two days with my face in the armpit of a man who appeared to be actually sweating urine."

These kinds of jokes exemplify the special charm of Upstart Crow. The strengths of the show lie not merely in broad toilet humor or the comical juxtaposition of modern attitudes and early modern imagery, but in the way that these sitcom staples serve to humanize the world's greatest playwright. This is Shakespeare as we so rarely see him depicted in popular culture: Shakespeare the family man; Shakespeare the working man; Shakespeare, one of us.

The first series of Upstart Crowwas produced in 2016 as part of the BBC's program of events and entertainments commemorating the 400th anniversary of Shakespeare's death. The plot revolves around Will's early struggles in the London showbiz scene, circa 1592–93. This tongue-in-cheek take on Shakespeare's life has been lauded as an enjoyable return to form for Elton, and his most successful television venture since Blackadder(Raeside, Rampton, Delingpole). High praise indeed, but not altogether surprising given the similarities between the two shows: following its precursor, Upstart Crowis well researched whilst also playing fast and loose with historical fact; it utilizes anachronisms for comic purpose; it rewards viewers with comedy that is at turns deeply intelligent and profoundly silly. Comical observations based on academic debates about Shakespeare's sexuality, education, and attitudes towards women are complemented by questionable gags and crude jokes which come thick and fast. "Bolingbrokes" and "futtocking" become rather satisfying profanities. Characters talk in asides, which "by strict convention cannot be heard." Harry Enfield plays John Shakespeare as part-Baldrick, part-Falstaff, offering filthy gags and working-class wisdom from atop the chamberpot. "Women ain't supposed to be sophisticated as us men," he pronounces sagely, while voiding his bowels. His wife Mary (Paula Wilcox) sits close by, wearing a perpetually resigned expression.

Most importantly, though, Upstart Crowis, like Blackadder, an underdog story about a brilliant but flawed, and therefore relatable, protagonist. Despite being only a jobbing writer at this point in his career, Will is presented as an ambitious social climber: by impressing audiences with his drama and poetry, he hopes to earn a place among the nobility, secure a family coat of arms, and ultimately bring honor and legitimacy to the house of Shakespeare. His...