Skip to main content Accessibility help
×
Hostname: page-component-76fb5796d-9pm4c Total loading time: 0 Render date: 2024-04-28T14:50:48.581Z Has data issue: false hasContentIssue false

Professional Shakespeare Productions in the British Isles, January-December 1992

Published online by Cambridge University Press:  28 March 2007

Stanley Wells
Affiliation:
University of Birmingham
Get access

Summary

Most of the productions listed are by professional companies, but some amateur productions and adaptations are included. Information is taken from reviews and programmes held in the Birmingham Shakespeare Library. Details have been verified wherever possible, but the nature of the material prevents corroboration in every case.

ALL'S WELL THAT ENDS WELL

The RSC at the Swan Theatre, Stratford: June 1992-

Director: Sir Peter Hall

Designer: John Gunter

Music: Guy Woolfenden

Helena: Sophie Thompson

The Countess: Barbara Jefford

Bertram: Toby Stephens

ANTONY AND CLEOPATRA

The RSC at the Royal Shakespeare Theatre, Stratford: October 1992-

Director: John Caird

Designer: Sue Blane

Music: Ilona Sekacz

Antony: Richard Johnson

Cleopatra: Claire Higgins

AS YOU LIKE IT

Cheek by Jowl: Tour continues. See Shakespeare Survey 46.

Joe Dixon won the Ian Charleson Award for his portrayal of Rosalind.

The RSC at the Royal Shakespeare Theatre, Stratford: April 1992-

Director: David Thacker

Designer: Johan Engels

Music: Gary Yershon

Rosalind: Samantha Bond

Greenwich Theatre, London: April—June 1992

Director: James Robert Carson

Designer: Kathy Strachan

Rosalind: Jemma Redgrave

New Shakespeare Company, Regent's Park: June 1992—

Director: Maria Aitken

Designer: Bruno Santini

Rosalind: Cathryn Harrison

Jaques/The Film Director: Betty Bourne

Conceived as a film with the chief roles played by 'professionals' the other roles by 'enthusiastic amateurs' with 'close-ups' and 'repeats'. The Director/Jaques was played by the drag artist Betty Bourne. Some reviewers felt the conceit upstaged the play.

Type
Chapter
Information
Shakespeare Survey , pp. 209 - 220
Publisher: Cambridge University Press
Print publication year: 1994

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

Save book to Kindle

To save this book to your Kindle, first ensure coreplatform@cambridge.org is added to your Approved Personal Document E-mail List under your Personal Document Settings on the Manage Your Content and Devices page of your Amazon account. Then enter the ‘name’ part of your Kindle email address below. Find out more about saving to your Kindle.

Note you can select to save to either the @free.kindle.com or @kindle.com variations. ‘@free.kindle.com’ emails are free but can only be saved to your device when it is connected to wi-fi. ‘@kindle.com’ emails can be delivered even when you are not connected to wi-fi, but note that service fees apply.

Find out more about the Kindle Personal Document Service.

Available formats
×

Save book to Dropbox

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Dropbox.

Available formats
×

Save book to Google Drive

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Google Drive.

Available formats
×