We'll never know if Shakespeare would have
appreciated She's the Man, an update of his play Twelfth
Night: Or What You Will reset in teen sports comedy land. It is a good bet, at least, he's not rolling in his
grave about it, at least no more than Ovid and Chaucer, among others, were rolling in theirs during the Elizabethan
era, when the Bard put the poet in poetic license with his own reworking of classics like Pyramus and Thisbe
(as Romeo and Juliet) and The Knight's Tale (as The Two Noble Kinsmen). Twelfth
Night was itself somewhat a variation of his own The Comedy of Errors, an early title based rather
faithfully on Plautus' Menaechmi.
The works of William Shakespeare remain one of the rare arguments in favor of remakes these days, as repeat after rehash after revival is met with great public disdain. There was little plot development he didn't lift from some prior story, but his genius was in how he told, not what he told, and it is the language of his writing that has carried distinction over time. It is therefore ironic that modern versions of his plays, in turn, inherit a sort of credibility by making a legacy out of the action.