Production History

doi:10.1017/9781316137062.P22

Part XXII - Production History

Published online by Cambridge University Press: 17 August 2019

Joseph Roach

Edited by

Bruce R. Smith

Edited in association with

Katherine Rowe

With

Ton Hoenselaars ,

Akiko Kusunoki ,

Andrew Murphy and

Aimara da Cunha Resende

Show author details

Bruce R. Smith: Affiliation:
University of Southern California
Katherine Rowe: Affiliation:
Smith College, Massachusetts
Ton Hoenselaars: Affiliation:
Universiteit Utrecht, The Netherlands
Akiko Kusunoki: Affiliation:
Tokyo Woman’s Christian University, Japan
Andrew Murphy: Affiliation:
Trinity College Dublin
Aimara da Cunha Resende: Affiliation:
Universidade Federal de Minas Gerais, Brazil

Book contents

Get access

Keywords

dramatis personae overplaying periods persona personation persons places playing plays processes productions publics theories of acting underplaying Betterton, Thomas Burbage, Richard Curtain (playhouse)Derring, Sir Edward Falstaff Henry IV, Part One Kemp, Will Quin, James the Theatre (playhouse)Swan (playhouse)The Wits, or Sport upon Sport Booth, Junius Brutus characterization Garrick, David Keane, Edmund Kemble, John Philip King Lear Macready, William Charles Restoration scenery Tate, Nahum Wren, Christopher Betterton, Thomas Booth, Edwin Garrick, David Hamlet Hazlitt, Charles Irving, Henry Kemble, John Philip Restoration Taylor, Joseph Wilks, Robert Calvert, Charles Harfleur, siege of Henry V Kean, Charles James, Henry Macready, William Charles Victorian Covent Garden cross-dressing Cushman, Charlotte Faucit, Helena Kemble, Fanny O’Neill, Eliza Macready, William Charles Romeo and Juliet Tree, Ellen Victorian Brook, Peter Ciulei, Liviu cubism Guthrie Theater Miller, Jonathan The Tempest Prospero Redgrave, Michael Stratford Webster, Margaret Branagh, Kenneth Brook, Peter Fellini Hopkins, Anthony Japanese Mussolini Riefenstahl, Leni Royal Shakespeare Theater Taymor, Julie Titus Andronicus alternative sexualities costuming dominatrix historical period Katherina 1950s Stuttgart Ballet Taming of the Shrew Ullman, Tracy violence audience involvement Brecht, Bertolt corruption Hall, Peter Julius Caesar murder political politicians tyrant violence Beatrice Branagh, Kenneth Cheek by Jowl Dench, Judi film Much Ado About Nothing Rylance, Mark Royal Shakespeare Company (RSC)woman director(s)Joe MacBeth Kurosawa, Akira Lady Macbeth Macbeth Mifune, Tashiro Ninagawa, Yukio Polanski, Roman television Tynan, Kenneth Welles, Orson film Freud, Sigmund Jack the Ripper Measure for Measure Pinter, Harold heterosexual homosexual television TV Vienna

Type: Chapter
Information: The Cambridge Guide to the Worlds of Shakespeare , pp. 1545 - 1610

DOI: https://doi.org/10.1017/9781316137062.P22 [Opens in a new window]

Publisher: Cambridge University Press

Print publication year: 2016

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.)

References

Sources cited

Adams, John Cranford. The Globe Playhouse: Its Design and Equipment. 2nd ed. New York: Barnes and Noble, 1961.Google Scholar

Awasthi, Suresh. “The Intercultural Experience of the Kathakali ‘King Lear.’” New Theatre Quarterly 9.34 (1993): 172–78.CrossRef Google Scholar

Bate, Jonathan. Shakespearean Constitutions: Politics, Theatre, Criticism, 1730–1830. Oxford: Clarendon, 1989.Google Scholar

Beckerman, Bernard. Shakespeare at the Globe. New York: Macmillan, 1962.Google Scholar

Bennett, Susan. Performing Nostalgia: Shifting Shakespeare and the Contemporary Past. London: Routledge, 1996.Google Scholar

Bevington, David. Action Is Eloquence: Shakespeare’s Language of Gesture. Cambridge: Harvard UP, 1984.CrossRef Google Scholar

Brown, John Russell. Shakespeare and the Theatrical Event. Basingstoke: Palgrave, 2002.CrossRef Google Scholar

Campbell, Thomas. The Life of Mrs Siddons. 2 vols. London: Effingham Wilson, 1834.Google Scholar

Dillon, Janette. Theatre, Court, and City, 1596–1610: Drama and Social Space in London. Cambridge: Cambridge University Press, 2000.Google Scholar

Dobson, Michael. The Making of the National Poet: Shakespeare, Adaptation and Authorship, 1660–1769. Oxford: Oxford UP, 1995.Google Scholar

Downes, John. Roscius Anglicanus, or an Historical Overview of the Stage. London: 1708.Google Scholar

Gurr, Andrew. Playgoing in Shakespeare’s London. 2nd ed. Cambridge: Cambridge University Press, 1996.Google Scholar

The Henslowe-Alleyn Digitization Project. http://www.henslowe-alleyn.org.uk/essays/henslowediary.html. Kings College London, 2005.Google Scholar

Heywood, Thomas. An Apology for Actors. London: 1612.Google Scholar

Highfill, Philip H. Jr., Burnim, Kalman A., and Langhans, Edward A., eds. A Biographical Dictionary of Actors, Actresses, Musicians, Dancers, Managers, and Other Stage Personnel in London, 1660–1800. 16 vols. Carbondale: Southern Illinois UP, 1973–93.Google Scholar

Hodgdon, Barbara. The Shakespeare Trade: Performances and Appropriations. Philadelphia: U of Pennsylvania P, 1998.Google Scholar

Hodges, C. Walter. The Globe Restored: A Study of the Elizabethan Theatre. New York: Norton, 1973.Google Scholar

Holland, Peter. “Hearing the Dead: The Sound of David Garrick.” Players, Playwrights, Playhouses: Investigating Performance, 1660–1800. Ed. Cordner, Michael and Holland, Peter. New York: Palgrave Macmillan, 2007. 248–70.Google Scholar

Manley, Lawrence. “From Strange’s Men to Pembroke’s Men: 2 Henry VI and The First Part of the Contention.” Shakespeare Quarterly 54.3 (2003): 253–87.CrossRef Google Scholar

McMillan, Scott, and MacLean, Sally Beth. The Queen’s Men and Their Plays. Cambridge: Cambridge University Press, 1998.Google Scholar

Mullaney, Steven. The Place of the Stage: License, Play, and Power in Renaissance England. Ann Arbor: U of Michigan P, 1995.CrossRef Google Scholar

Nagler, A. M. Shakespeare’s Stage. New Haven: Yale UP, 1958.Google Scholar

Odell, George C. D. Shakespeare from Betterton to Irving. New York: Scribner, 1920.Google Scholar

Orrell, John, and Gurr, Andrew. Rebuilding Shakespeare’s Globe. New York: Routledge, 1989.Google Scholar

Palfrey, Simon, and Stern, Tiffany. Shakespeare in Parts. New York: Oxford UP, 2007.CrossRef Google Scholar

Pascoe, Judith. The Sarah Siddons Audio Files: Romanticism and the Lost Voice. Ann Arbor: U of Michigan P, 2011.CrossRef Google Scholar

Pepys, Samuel. The Diary of Samuel Pepys. Eds. Latham, Robert and Matthews, William. 11 vols. Berkeley: U of California P, 1970–83.Google Scholar

Phelan, Peggy. Unmarked: The Politics of Performance. New York: Routledge, 1993.Google Scholar

Raab, Michael. “Peter Zadek.” The Routledge Companion to Directors’ Shakespeare. Ed. Brown, John Russell. London: Routledge, 2008. 509–25.Google Scholar

Rosenberg, Marvin. The Masks of Othello: The Search for the Identity of Othello, Iago, and Desdemona by Three Centuries of Actors and Critics. Berkeley: U of California P, 1962.Google Scholar

Rosenberg, Marvin. The Masks of King Lear. Berkeley: U of California P, 1972.Google Scholar

Rosenberg, Marvin. The Masks of Macbeth. Berkeley: U of California P, 1978.Google Scholar

Rosenberg, Marvin. The Masks of Hamlet. Newark: U of Delaware P, 1993.Google Scholar

Skura, Meredith Anne. Shakespeare the Actor and the Purposes of Playing. Chicago: U of Chicago P, 1993.Google Scholar

Smith, Bruce R. The Acoustic World of Early Modern England: Attending to the O-Factor. Chicago: U of Chicago P, 1999.Google Scholar

Stern, Tiffany. Rehearsal from Shakespeare to Sheridan. Oxford: Clarendon, 2000.Google Scholar

Styan, J. L. The Shakespeare Revolution: Criticism and Performance in the Twentieth Century. Cambridge: Cambridge University Press, 1977.Google Scholar

Walsh, Brian. Shakespeare, the Queen’s Men, and the Elizabethan Performance of History. Cambridge: Cambridge University Press, 2007.Google Scholar

West, Timothy. “The King of Comedy.” The Guardian [London] 6 April 2001. www.guardian.co.uk./books/2001/apr/07/books.guardianreview. Accessed 17 May 2013.Google Scholar

Zarrilli, Phillip B. “For Whom Is the King a King? Issues of Intercultural Production, Perception, and Reception in a Kathakali King Lear.” Critical Theory and Performance. Ed. Reinelt, Janelle and Roach, Joseph. Ann Arbor: U of Michigan P, 2007. 108–33.Google Scholar

Sources cited

Baldwin, T. W. The Organization and Personnel of the Shakespearean Company, 1927.Google Scholar

Beckerman, Bernard. Shakespeare at the Globe, 1599–1609. New York: Macmillan, 1962.Google Scholar

Brown, John Russell. Shakespeare’s Plays in Performance. Milwaukee: Applause Books, 2000.Google Scholar

Chambers, E. K. The Elizabethan Stage. 4 vols. Oxford: Oxford UP, 1923.Google Scholar

Chambers, E. K. William Shakespeare; A Study of Facts and Problems. 2 Vols. Oxford: Clarendon, 1930.Google Scholar

Child, Harold. “The Stage-History of King Henry the IV.” In Shakespeare, William. King Henry IV. Ed. Wilson, John Dover. 2 vols. Cambridge: Cambridge University Press, 1946. 1: xxix–xlvi.Google Scholar

Gray, Henry David. “The Roles of William Kemp.” Modern Language Review 25 (1930): 26–73.Google Scholar

Gurr, Andrew. The Shakespearean Stage, 1574–1642. Cambridge: Cambridge University Press, 1992.Google Scholar

Hogan, C. B. Shakespeare in the Theatre, 1701–1800. Vol. 1. Oxford: Clarendon, 1952.Google Scholar

Munro, John, ed. The Shakespeare Allusion Book: A Collection of Allusions to Shakespeare from 1591 to 1700. 2 vols. London: Chatto and Windus, 1909.Google Scholar

Odell, George C. D. Shakespeare from Betterton to Irving. New York: Scribner, 1920.Google Scholar

Salgādo, Gāmini. Eyewitnesses of Shakespeare: First Hand Accounts of Performances, 1590–1890. New York: Barnes and Noble Books, 1975.Google Scholar

Sprague, Arthur Colby. Shakespeare’s Histories: Plays for the Stage. London: Society for Theatre Research, 1964.Google Scholar

Van Lennep, William, ed. The London Stage, 1600–1800. Carbondale: Southern Illinois UP, 1965.Google Scholar

Weil, Herbert. “On Expectation and Surprise: Shakespeare’s Construction of Character.” Shakespeare Survey 34 (1981): 39–50.Google Scholar

Wickham, Glynne. Early English Stages, 1300–1600. 3 vols. London: Psychology Press, 1959–81.Google Scholar

Sources cited

Addison, Joseph. The Spectator 40, 16 April 1711.Google Scholar

Allen, Shirley S. Samuel Phelps and Sadler’s Wells Theatre. Middletown: Wesleyan UP, 1971.Google Scholar

Appleton, William W., and Burnim, Kalman A., eds. The Prompter: A Theatrical Paper (1734–1736). New York: Blom, 1966.Google Scholar

Bald, R. C. “Shakespeare on the Stage in Restoration Dublin.” Publications of the Modern Language Association of America 56 (1941): 369–78.CrossRef Google Scholar

Barrett, Lawrence. Edwin Forrest. Boston: J. R. Osgood, 1881.Google Scholar

Beckerman, Bernard. Shakespeare at the Globe, 1599–1609. New York: Macmillan, 1962.Google Scholar

Blayney, Peter. The First Folio of Shakespeare. Washington: Folger Library Publications, 1991.Google Scholar

Bratton, Jackie. New Readings in Theatre History. Cambridge: Cambridge University Press, 2003.Google Scholar

Carlisle, Carol Jones. Shakespeare from the Greenroom. Chapel Hill: U of North Carolina P, 1969.Google Scholar

Derrick, Leland Eugene. “The Stage History of King Lear.” Diss. U of Texas, 1940.Google Scholar

Genest, John. Some Account of the English Stage (London) 1660–1830. 10 vols. Bath: H. E. Carrington, 1832.Google Scholar

Harris, Arthur John. “Garrick, Colman, and King Lear.” Shakespeare Quarterly 22 (1971): 59–62.CrossRef Google Scholar

Hawkins, F. W. The Life of Edmond Kean. 2 vols. London: Tinsley Brothers, 1869.Google Scholar

Hayes, Malcolm. Sunday Telegraph (London), 29 January 1989: 17.Google Scholar

Hillebrand, H. N. Edmond Kean. New York: Columbia UP, 1933.Google Scholar

Houtchens, L. H., and Houtchens, C. W., eds. Leigh Hunt’s Dramatic Criticism, 1808–1811. New York: Columbia UP, 1949.Google Scholar

Kean, Charles, ed. Shakespeare’s Tragedy of King Lear: Arranged for Representation at the Princess’s Theatre with Historical and Explanatory Notes. London: J. K. Chapman & Co. [1858].Google Scholar

McManaway, James. “Additional Prompt-books of Shakespeare from the Smock Alley Theatre.” Modern Language Review 45 (1950): 64–65CrossRef Google Scholar

Odell, George C. D. Shakespeare from Betterton to Irving. 2 vols. New York: Scribner, 1920.Google Scholar

Prager, Leonard. “Of Parents and Children: Jacob Gordin’s The Jewish King Lear.” American Quarterly 18 (1966): 506–16.CrossRef Google Scholar

Rees, James. The Life of Edwin Forrest. Philadelphia: T. B. Peterson and Brothers, 1874.Google Scholar

Rosenberg, Marvin. The Masks of King Lear. Berkeley: U of California P, 1972.Google Scholar

Rostron, David. “John Philip Kemble’s King Lear of 1795.” The Eighteenth-Century English Stage. Ed. Richards, Kenneth and Thomson, Peter. London: Methuen, 1972. 149–70.Google Scholar

Salgādo, Gāmini. Eyewitnesses of Shakespeare: First Hand Accounts of Performances, 1590–1890. Eastbourne: Sussex UP, 1975.Google Scholar

Shakespeare, William. The Tragedy of King Lear. London: [s.n.], 1663–64. (Folger PROMPT 3rd folio Lear Smock Alley)Google Scholar

Shakespeare, William. The Life and Death of King Lear. London: J. Tonson, 1734. (Folger PROMPT Lear 30)Google Scholar

Shattuck, Charles. Shakespeare on the American Stage: From the Hallams to Edwin Booth. Washington: Folger Shakespeare Library, 1976.Google Scholar

Speaight, Robert. Shakespeare on the Stage. London: Collins, 1973.Google Scholar

Spencer, Christopher. Five Restoration Adaptations of Shakespeare. Urbana: U of Illinois P, 1965.Google Scholar

Sprague, Arthur Colby. “Garrick as King Lear.” Shakespearian Players and Performances. Cambridge: Harvard UP, 1953. 21–40.Google Scholar

Stone, George Winchester Jr. “Garrick’s Production of King Lear: A Study in the Temper of the Eighteenth-Century Mind.” Studies in Philology 45 (1948): 89–103.Google Scholar

Stone, George Winchester. “The Making of the Repertory.” The London Theatre World, 1660–1800. Ed. Hume, Robert D.. Carbondale: Southern Illinois UP, 1980. 181–209.Google Scholar

Tate, Nahum. The History of King Lear. Acted at the Duke’s Theatre. Reviv’d with Alterations. London: E. Flesher, 1681.Google Scholar

Toynbee, William, ed. The Diaries of William Charles Macready, 1833–1851. 2 vols. New York: G. P. Putnam’s Sons, 1912.Google Scholar

Van Lennep, William, ed. The London Stage, 1660–1800. Part I: 1660–1700. Carbondale: Southern Illinois UP, 1965.Google Scholar

Vickers, Brian. Shakespeare: The Critical Heritage. London: Routledge and Kegan Paul, 1974–81.Google Scholar

Winter, William. Shakespeare on the Stage: Second Series. New York: Moffat, Yard, and Company, 1915.Google Scholar

Woods, Leigh. Garrick Claims the Stage. Westport: Greenwood, 1984.Google Scholar

Sources cited

Armstrong, W. A. “Bernard Shaw and Forbes-Robertson’s Hamlet.” Shakespeare Quarterly 15 (1964): 27–31.Google Scholar

Browne, Martin. “English Hamlets of the Twentieth Century.” Shakespeare Survey 9 (1956): 16–23.Google Scholar

Child, Harold, and Wilson, John Dover, eds. Hamlet. Cambridge: Cambridge University Press, 1934.Google Scholar

Edwards, Philip. “Introduction.” Hamlet, Prince of Denmark. Cambridge: Cambridge University Press, 2003. 1–82.Google Scholar

Evans, G. Blakemore, ed. Shakespearean Prompt-Books of the Seventeenth Century. Vol. 4. Charlottesville: UP of Virginia, 1966.Google Scholar

Garrick, David. Letters. Ed. Little, D. M. and Kahrl, G. M.. 2 vols. Cambridge: Belknap, 1963.Google Scholar

Hazlitt, Charles. The Characters of Shakespeare’s Plays. 1817. Complete Works. Ed. Howe, P. P.. 4 vols. Oxford: Oxford UP, 1930–34.Google Scholar

Ingleby, C. M., Smith, L. Toulmin, and Furnivall, F. J., eds. The Shakespeare Allusion-Book. 2 vols. Oxford: Oxford UP, 1932.Google Scholar

Paul, H. N. Modern Language Notes 49 (1934): 438–43.Google Scholar

Shattuck, Charles. Hamlet of Edwin Booth. Champaign: U of Illinois P, 1969.Google Scholar

Spencer, Hazelton. “Hamlet under the Restoration.” Publications of the Modern Language Association of America 38 (1923): 770–91.Google Scholar

Spencer, Hazelton. Shakespeare Improved. Cambridge: Harvard UP, 1927.Google Scholar

Stone, G. W. “Garrick’s Long Lost Alteration of Hamlet.” Publications of the Modern Language Association of America 49 (1934): 890–921.CrossRef Google Scholar

Sources cited

Mrs. Calvert, Charles [Helen, Adelaide]. Sixty-Eight Years on the Stage. London: Mills and Boon, 1911.Google Scholar

Mrs. Calvert, Charles [Helen, Adelaide]. “Promptbook.” Henry the Fifth: A Historical Play in Five Acts by William Shakespeare. As Produced at Booth’s Theatre, New York, February 8, 1875. Ed. Newton, Charles E.. New York: Robert de Witt, 1875. 3–6.Google Scholar

Cole, John William. The Life and Theatrical Times of Charles Kean, FSA. 2 vols. London: Richard Bentley, 1859.Google Scholar

Coleman, John. Fifty Years of an Actor’s Life. 2 vols. London: Hutchinson, 1904.Google Scholar

Cook, Dutton. Nights at the Play: A View of the English Stage. 2 vols. London: Chatto and Windus, 1883.Google Scholar

Darbyshire, Alfred. The Art of the Victorian Stage: Notes and Recollections. London: Sherratt and Hughes, 1907.Google Scholar

Davidson, Levette J. “Shakespeare in the Rockies.” Shakespeare Quarterly 4 (1953): 39–50.CrossRef Google Scholar

Foulkes, Richard. The Calverts: Actors of Some Importance. London: Society for Theatre Research, 1992.Google Scholar

Foulkes, Richard “Charles Calvert’s Henry V.” Shakespeare Survey 41 (1989): 23–34.Google Scholar

James, Henry. The Scenic Art. Ed. Wade, Allan. London: R. Hart-Davis, 1949.Google Scholar

Kean, Charles. Shakespeare’s Play of King Henry V, Arranged for Representation at the Princess Theater, with Historical and Explanatory Notes by C. Kean. London: J. K. Chapman, 1859.Google Scholar

Schoch, Richard. Shakespeare’s Victorian Stage: Performing History in the Theatre of Charles Kean. Cambridge: Cambridge University Press, 2006.Google Scholar

Shakespere’s Historical Play of Henry the Fifth As Produced by Mr. George Rignold at Drury Lane Theatre November 1st, 1879. London: 1880.Google Scholar

Sources cited

Archer, William. Theatrical “World” of 1896. London: W. Scott, 1896.Google Scholar

Clement, Clara. Charlotte Cushman. Boston: J. R. Osgood, 1882.Google Scholar

Cole, John William. The Life and Theatrical Times of Charles Kean, F.S.A. 2 vols. London: Richard Bentley, 1859.Google Scholar

Coleman, John. Fifty Years of an Actor’s Life. 2 vols. London: Hutchinson, 1904.Google Scholar

Fletcher, George. Studies of Shakespeare. London: Longman, Brown, Green and Longmans, 1847.Google Scholar

Harrison, Clifford. Stray Records. London: R. Bentley and Son, 1892.Google Scholar

Hazlitt, Charles. Hazlitt on Theatre. 1895. Rpt. New York: Hill and Wang, 1957.Google Scholar

Jameson, Anna. Shakespeare’s Heroines. London: George Bell and Sons, 1879.Google Scholar

Kemble, Fanny. Records of a Girlhood. London: R. Bentley and Son, 1878.Google Scholar

Leach, Joseph. Bright Particular Star. New Haven: Yale UP, 1970.Google Scholar

Levenson, Jill. Romeo and Juliet. Manchester: Manchester UP, 1987.Google Scholar

Macready, William. Macready’s Reminiscences and Selections from His Diaries and Letters. Ed. Pollock, Frederick. 2 vols. New York: Harper and Brothers, 1875.Google Scholar

Martin, Helena Faucit. Shakespeare’s Female Characters. London: W. Blackwood and Sons, 1885.Google Scholar

Marshall, Gail. Actresses on the Victorian Stage. Cambridge: Cambridge University Press, 1998.Google Scholar

Merrill, Lisa. When Romeo Was a Woman. Ann Arbor: U of Michigan P, 2000.Google Scholar

Odell, George C. D. Shakespeare from Betterton to Irving. 2 vols. New York: Scribner, 1920.Google Scholar

Powell, Kerry. Women and Victorian Theatre. Cambridge: Cambridge University Press, 1997.Google Scholar

Richards, Sandra. Rise of the English Actress. London: Macmillan, 1993.Google Scholar

Rowell, George. Queen Victoria. London: P. Elek, 1978.Google Scholar

Stebbins, Emma. Charlotte Cushman. Boston: Houghton, Osgood, 1878.Google Scholar

Winter, William. Other Days. New York: Moffat, Yard, 1908.Google Scholar

Winter, William. Shakespeare on the Stage. New York: Moffat, Yard, 1911.Google Scholar

Sources cited

Adriani, Anna. [review]. La Repubblica 3 April 1986.Google Scholar

Andrews, Nigel. “Critics’ Forum.” BBC Radio 3. 15 October 1988.Google Scholar

Billington, Michael. [review]. The Guardian [London] 29 November 1978.Google Scholar

Billington, Michael. [review]. The Guardian [London] 12 October 1988.Google Scholar

Boyd, Chris. [review]. Melbourne Times 16 May 1990.Google Scholar

Carr, Paula. elbourne Report 1 June 1990.Google Scholar

Chaillet, Ned. [review]. The Times [London] 13 August 1982.Google Scholar

Columba, Sergio. [review]. Carlino Spettacoli 5 April 1986.Google Scholar

Coveney, Michael. [review]. Financial Times [London] 13 August 1982.Google Scholar

Coveney, Michael. [review]. Financial Times [London] 12 October 1988.Google Scholar

Cumani, Claudio. [review]. Carlino Spettacoli 25 March 1986.Google Scholar

Cushman, Robert. [review]. The Observer [London] 15 August 1982.Google Scholar

Evans, Gareth Lloyd. [review]. Stratford Herald 20 August 1982.Google Scholar

[Anonymous review.] Evesham Journal & Four Shires Advertiser 19 August 1982.Google Scholar

Farndon, Roy. Interview with Hudson, Richard. The Independent [London] 12 October 1988.Google Scholar

Foxon, Ellen. [review]. Birmingham Weekly Post 16 August 1957.Google Scholar

Geron, Gastone. [review]. Il Giornale 6 April 1986.Google Scholar

Grande, Maurizio. [review]. Rinascita 19 April 1986.Google Scholar

Hawley, David. [review]. St. Paul Dispatch 12 June 1981.Google Scholar

Hawley, David. [unidentified clipping seen by the author]. 14 June 1981.Google Scholar

[Anonymous review]. Illustrated London News 11 July 1857.Google Scholar

Kalem, T. E. [review]. The Times [London] 27 July 1981.Google Scholar

Kroll, Jack. [review]. Newsweek 29 June 1981.Google Scholar

Logan, Brian. [review]. The Guardian [London] 12 July 1996, 2:6. The program was broadcast on BBC2 Wales, 9 March 1997.Google Scholar

[Anonymous review]. Morning Star (London) 16 August 1982.Google Scholar

Neill, Rosemary. [review]. The Australian 17 May 1990.Google Scholar

Peter, John. [review]. Sunday Times [London] 16 October 1988.Google Scholar

Radic, Leonard. [review]. The Age 18 May 1990.Google Scholar

Rich, Frank. [review]. New York Times 7 April 1981.Google Scholar

Ronfani, Ugo. [review]. Il Giorno 6 April 1986.Google Scholar

[Anonymous review]. Shropshire Star 12 August 1982.Google Scholar

[Anonymous review]. South Wales Argus 12 August 1982.Google Scholar

Steele, Mike. [review]. Minneapolis Tribune 13 June 1981.Google Scholar

Thomson, Helen. [review]. Sunday Herald [Glasgow] 20 May 1990.Google Scholar

Volli, Ugo. [review]. La Repubblica Spettacoli 5 April 1986.Google Scholar

Walker, Roy. “Unto Caesar: A Review of Recent Productions.” Shakespeare Survey 11 (1958): 135. DOI: http://dx.doi.org/10.1017/CCOL0521064244.Google Scholar

Webster, Margaret. Don’t Put Your Daughter on the Stage. New York: Knopf, 1972.Google Scholar

Worsley, T. C. [review]. New Statesman [London] 24 August 1957.Google Scholar

Young, B. A. [review]. Financial Times [London] 29 November 1978.Google Scholar

Zucconi, Giovanna. [review]. Paese Sera [Rome] 5 April 1986.Google Scholar

Sources cited

Alexander, Bill. “The Director Bill Alexander Talks about Titus Andronicus and the Question of Revenge.” RSC Web site. https://www.rsc.org.uk. Accessed 11 June 2005.Google Scholar

Alexander, Bill. Titus Andronicus production journal. Unpublished.Google Scholar

Bate, Jonathan. “Conquering Despair.” Times Literary Supplement 28 July 1995: 18–19.Google Scholar

Bennett, Susan. Theatre Audiences: A Theory of Production and Reception. New York: Routledge, 1997.Google Scholar

Billington, Michael. “A Brutal Sort of Interrogation.” The Guardian [London] 14 July 1995: A21.Google Scholar

Billington, Michael. “Connoisseur of Cruelty.” The Guardian [London] 28 November 1989: 37.Google Scholar

Billington, Michael. “Theatre Review: Titus Andronicus.” The Guardian [London] 22 May 1997: A6.Google Scholar

Billington, Michael. “Titus Andronicus.” The Guardian [London] 24 September 2003: 26.Google Scholar

Buhler, Stephen. Shakespeare in the Cinema, Ocular Proof. Albany: State UP of New York,] 2002.Google Scholar

Burt, Richard. “Shakespeare and the Holocaust: Julie Taymor’s Titus Is Beautiful, or Shakesploi Meets (the) Camp.” Shakespeare after Mass Media. Ed. Burt, Richard. New York: Palgrave, 2002. 295–329.Google Scholar

Carnegy, Patrick. “Seriously Bloody.” The Spectator 4 October 2003: 63–64.Google Scholar

Cartmell, Deborah. Interpreting Shakespeare on Screen. New York: St. Martin’s, 2000.Google Scholar

Ciglar-Zanic, Janja. “Recruiting the Bard: Onstage and Offstage Glimpses of Recent Shakespeare Productions in Croatia.” Shakespeare in the New Europe. Ed. Hattaway, Michael, Sokolova, Boika, and Roper, Derek. Sheffield: Sheffield Academic, 1994. 261–75.Google Scholar

Cotes, Alison. “Titus Andronicus: Blood Curdling Saga.” The Brisbane Review June 1995.Google Scholar

Doran, Gregory, and Sher, Antony. Woza Shakespeare! London: Methuen Drama, 1996.Google Scholar

Dunne, Christopher. “TITUS ANDRONICUS is a killer! (In more ways than one).” Movie trailer. https://www.youtube.com/watch?v=vzLFzb3rV4w. Accessed 6 November 2014.Google Scholar

Fuzier, J., Laroque, F., and Maguin, J. M.. “Titus Andronicus.” Cahiers Elisabéthains 25 (April 1984).Google Scholar

Gardner, Lyn. [review]. The Guardian [London] 19 May 1997: G2.Google Scholar

Goy-Blanquet, Dominique. “Titus resartus: Deborah Warner, Peter Stein and Daniel Mesguich Have a Cut at Titus Andronicus.”Foreign Shakespeare: Contemporary Performance. Ed. Kennedy, Dennis. Cambridge: Cambridge University Press, 1993. 36–55.Google Scholar

Gulino, Fabiola. “Peter Stein’s Titus at the Teatro Genova, 1990.” Titus Andronicus: Critical Essays. Ed. Kolin, Philip C.. New York: Garland, 1995.Google Scholar

Hall, Phil. “Richard Griffin: Brushing Up His Shakespeare.” Film Threat 12 December 2000. http://www.filmthreat.com. Accessed 15 July 2003.Google Scholar

Hughes, Alan. Titus Andronicus. The New Cambridge Shakespeare. Cambridge: Cambridge University Press, 2006.Google Scholar

Kennedy, Dennis, ed. Foreign Shakespeare: Contemporary Performance. Cambridge: Cambridge University Press, 1993.Google Scholar

Kermode, Mark. “Review.” Newsnight. BBC-TV. 26 September 2003.Google Scholar

Kingston, Jeremy. “Curtains for Shakespeare’s Worst.” The Times [London] 22 May 1997.Google Scholar

Kolin, Philip C., ed. Titus Andronicus: Critical Essays. New York: Garland, 1995.Google Scholar

Kott, J. Shakespeare Our Contemporary. New York: Doubleday, 1964.Google Scholar

Martyn, Patrick. The Stage 17 December 1992: n.p.Google Scholar

Parry, Robert Lloyd. Plays International August 1995: 11.Google Scholar

Quadri, Franco. “Tiro Andronico in doppio petto.” La Repubblica 26–27 November 1989.Google Scholar

Schechner, Richard. Essays in Performance Theory, 1970–1976. New York: Drama Book Specialists, 1977.Google Scholar

Spencer, Charles. “The Horror, the Humour.” The Weekly Telegraph [London] 8 October 2003.Google Scholar

Starks, Lisa S. “Cinema of Cruelty: Powers of Horror in Julie Taymor’s Titus.” The Reel Shakespeare. Alternative Cinema and Theory. Ed. Starks, Lisa S. and Lehmann, Courtney. Madison: Farleigh Dickinson UP, 2002. 121–42.Google Scholar

Taymor, Julie. “Titus”: The Illustrated Screenplay. New York: Newmarket, 2000.Google Scholar

Tempera, Mariangela. Feasting with Centaurs: Titus Andronicus from Stage to Text. Bologna: Clueb Edritice, 1999.Google Scholar

Thébaud, Marion. “Les curiosités de Raf Vallone.” Le Figaro [Paris] 4 May 1990.Google Scholar

“Titus Andronicus.” Times Literary Supplement [London] 24 September 1993.Google Scholar

Vickers, Brian. Shakespeare, Co-Author: A Historical Study of Five Collaborative Plays. Oxford: Oxford UP, 2002.Google Scholar

Waller, Richard. “Daring Staging Lends Grisly Reality to Play.” The Sunday Mail [London] 9 June 1995.Google Scholar

Wiltenburg, Mary. “Shakespeare Behind Bars.” Christian Science Monitor December 2001. csmonitor.com.Google Scholar

Xu, Qiping. “Directing Titus Andronicus in China, 1986.” Trans. Zheng, Jianqing. Titus Andronicus: Critical Essays. Ed. Kolin, Philip C.. New York: Garland, 1995.Google Scholar

Sources cited

Burt, Richard. Unspeakable ShaXXXspeares, Revised Edition: Queer Theory and American Kiddie Culture. London: Palgrave Macmillan, 1999.Google Scholar

Devlin-Glass, Frances. “Teasing the Audience with the Play: Feminism and Shakespeare at the Melbourne Theater Company, 1984–93.” Australasian Drama Studies 33 (October 1998): 21–39.Google Scholar

Gay, Penny. “Recent Australian Shrews: The ‘Larrikin Element.’” Shakespeare and the Twentieth Century. Ed. Bate, Jonathan, Levenson, Jill L., and Miehl, Dieter. London: Associated UP, 1998. 168–82.Google Scholar

Hodgdon, Barbara. The Shakespeare Trade: Performances and Appropriations. Philadelphia: U Pennsylvania P, 1984.Google Scholar

Sources cited

Abarbanel, Jonathan. [review]. Windy City Times [Chicago] 11 December 2002.Google Scholar

[Anonymous review]. Algemeen Dagblad [Rotterdam] 11 September 1995.Google Scholar

Berkowitz, Gerald. “Review of Peter Hall (RST 1995).” Shakespeare Bulletin (winter 1996): 10.Google Scholar

Billington, Michael. “Is There a Crisis in Shakespearean Acting?” The Guardian [London] 10 April 1987: 19.Google Scholar

Billington, Michael. “This Year’s Best Bet.” The Guardian [London] 30 July 2001: B10.Google Scholar

Billington, Michael. “The Two Timing Tyrant.” The Guardian [London] 1 November 1991: 25.Google Scholar

Bots, Pieter. Het Parool [Amsterdam] 7 May 1999.Google Scholar

Deveson, Tom. Around the Globe 11 (autumn 1999).Google Scholar

Dorrell, Stephen. Around the Globe 10 (summer 1999).Google Scholar

Edmonds, Richard. Birmingham Post 6 October 1993.Google Scholar

Freriks, Kester. NRC Handelsblad [Amsterdam] 19 May 1999.Google Scholar

Greenwald, Michael. Shakespeare Quarterly 48 (spring 1997): 84–90.Google Scholar

Gurr, Andrew. Around The Globe 11 (autumn 1999).Google Scholar

Holland, Peter. Shakespeare Survey 49 (1996): 235–68.Google Scholar

Hortmann, Wilhelm. Shakespeare on The German Stage. Vol. 2: The Twentieth Century. Cambridge: Cambridge University Press, 1998. (German edition: Shakespeare und das deutsche Theater im 20. Jahrhundert, 2001). 212–29.Google Scholar

Jackson, Russell. [review]. Shakespeare Quarterly 47 (1996): 319.Google Scholar

Kole, Robert. [review]. Shakespeare Bulletin (summer 1999): 14–15.Google Scholar

Lapworth, Paul. [review]. Stratford Herald 8 November 1991.Google Scholar

Lennox, Patricia. [review]. Shakespeare Bulletin (fall 2000): 8.Google Scholar

Liebler, Naomi, ed. The Female Tragic Hero in English Renaisssance Drama. New York: Palgrave, 2002.Google Scholar

Liston, William T. [review]. Shakespeare Bulletin, (fall 2001): 30–31.Google Scholar

Liston, William T. [review]. Shakespeare Bulletin (winter 2002): 4–7.Google Scholar

Macaulay, Alastair. [review]. The Financial Times [London] 7 August 1993.Google Scholar

Macdonald, Robert. [review]. Shakespeare Newsletter (summer 2000).Google Scholar

McGill, Stewart. [review]. The Stage 28 November 1991.Google Scholar

Newman, Peter. [review]. Shakespeare Bulletin (spring 1998): 28.Google Scholar

Nightingale, Benedict. “Rivers of blood, but passion dries up.” The Times [London] 7 July 1995.Google Scholar

Paster, Gail Kern. The Body Embarrassed: Drama and the Disciplines of Shame in Early Modern England. Ithaca, NY: Cornell UP, 1993.Google Scholar

Peter, John. [review]. The Sunday Times [London] 5 August 2001.Google Scholar

Potter, Lois. [review]. Shakespeare Quarterly 50 (1999): 509–11.Google Scholar

Preston, Rohan. [review]. Minneapolis Star Tribune 5 March 1999: 7E.Google Scholar

Preston, Rohan. [review]. Minneapolis Star Tribune 5 March 2002.Google Scholar

Savin, Janet. [review]. Shakespeare Bulletin (winter 2001): 29–30.Google Scholar

Shurgot, Michael W. [review]. Shakespeare Bulletin (spring 1999).Google Scholar

Spencer, Charles. “A moralist’s mountainous fall from grace.” The Daily Telegraph [London] 1 November 1991: 130.Google Scholar

Taylor, Gary. “Shakespeare Performed: Theatrical Proximities. The Stratford Festival 1998.” Shakespeare Quarterly 50 (1999): 334–54.Google Scholar

Taylor, Neil. “National and Racial Stereotypes in Shakespeare Films.” The Cambridge Companion to Shakespeare on Film. Ed. Jackson, Russell. Cambridge: Cambridge University Press, 2000. 267–79.Google Scholar

Taylor, Paul. “Julius Caesar RSC Stratford upon Avon.” The Independent [London] 7 July 1995: 10.Google Scholar

Trewin, J. C. [review]. The Birmingham Post 9 April 1987.Google Scholar

Vincent, , Ed. [review]. Windy City Times [Chicago] 11 December 2002.Google Scholar

Wardle, Irving. [review]. The Times [London] 10 April 1987.Google Scholar

Watermeier, Daniel J. [review]. Shakespeare Bulletin (winter 1994).Google Scholar

Watermeier, Daniel J. [review]. Shakespeare Bulletin (spring 1999).Google Scholar

Williams, Albert. [review]. Chicago Reader 6 March 1998.Google Scholar

Sources cited

Billington, Michael. [review]. The Guardian [London] 18 April 1990.Google Scholar

Billington, Michael. “Witty naval gazing.” The Guardian [London] 8 July 1993: A10.Google Scholar

Brode, Douglas. Shakespeare in the Movies: From the Silent Era to “Shakespeare in Love.” Oxford: Oxford UP, 2000.Google Scholar

Cartmell, Deborah. Interpreting Shakespeare on Screen. New York: Palgrave Macmillan, 2000.Google Scholar

Cox, John F. Much Ado about Nothing: Shakespeare in Production. Cambridge: Cambridge University Press, 1997.Google Scholar

Dungate, Rod. Plays and Players (December 1996/January 1997).Google Scholar

“Fleetwood Back.” RSC Magazine August 1991.Google Scholar

Friedman, Michael J. “Male Bonds and Marriage in All’s Well and Much Ado.” Studies in English Literature 35 (1995): 231–49.Google Scholar

Gay, Penny. As She Likes It. Shakespeare’s Unruly Women. New York: Routledge, 1994.Google Scholar

Holland, Peter. English Shakespeares: Shakespeare on the English Stage in the 1990s. Cambridge: Cambridge University Press, 1990.Google Scholar

Lehmann, Courtney. “Much Ado about Nothing? Shakespeare, Branagh and the ‘National-popular’ in the Age of Multinational Capital.” Textual Practice 12 (1998): 1–22.Google Scholar

Mason, Pamela. Much Ado about Nothing: Text and Performance. New York: Macmillan, 1992.Google Scholar

Morley, Sheridan. [review]. International Herald Tribune. 1998.Google Scholar

Ramsden, Timothy. Plays and Players (August 1993).Google Scholar

Rothwell, Kenneth. A History of Shakespeare on Screen: A Century of Film and Television. Cambridge: Cambridge University Press, 1990.Google Scholar

Shuttleworth, Ian. The Financial Times 18 February 1998.Google Scholar

Smallwood, Robert. “Shakespeare Performances in England, 1997.” Shakespeare Survey 51 (1998): 219–56.Google Scholar

Smallwood, Robert. “Shakespeare Performances in England, 1998.” Shakespeare Survey 52 (1999): 229–53.Google Scholar

Steed, Maggie. “Beatrice in Much Ado About Nothing.” Further Essays in Shakespearean Performance by Players of the Royal Shakespeare Company. Ed. Jackson, Russell and Smallwood, Robert. Players of Shakespeare 3. Cambridge: Cambridge University Press, 1993. 42–51.Google Scholar

Tanitch, Robert. Plays and Players (August 1993): 42–59.Google Scholar

Wells, Stanley. Unpublished speech at the fiftieth anniversary of the Shakespeare Institute, 2001.Google Scholar

Sources cited

Billington, Michael. [review]. The Guardian [London] 18 September 1987.Google Scholar

Davies, Anthony. Filming Shakespeare’s Plays. Cambridge: Cambridge University Press, 1988.Google Scholar

Donaldson, Peter S. Shakespearean Films/ Shakespearean Directors. Boston: Unwin Hyman, 1990.Google Scholar

Goodwin, James. Akira Kurosawa and Intertextual Cinema. Baltimore: Johns Hopkins UP, 1994.Google Scholar

Gordon, Giles. Plays and Players 410 (November 1987): 18–19.Google Scholar

Kishi, Tetsuo. “‘Bless Thee! Thou Art Translated!’”: Shakespeare in Japan.” Images in Shakespeare. Ed. Habicht, Werner et al. London: Associated UP, 1988. 245–50.Google Scholar

Kurosawa, Akira. “Seven Samuri” and Other Screenplays. London: Faber, 1992.Google Scholar

Leech, Michael. Interview with Ninagawa, Yukio. What’s on in London 17 September 1987.Google Scholar

Mullin, Michael. “Stage and Screen: The Trevor Nunn Macbeth.” Shakespeare Quarterly 38 (1987): 350–59.CrossRef Google Scholar

Mulryne, Ronnie. “From Text to Foreign Stage: Yukio Ninagawa’s Cultural Translation of Macbeth.” Shakespeare from Text to Stage. Ed. Kennan, Patricia and Tempera, Mariangela. Bologna: CLUEB, 1992. 131–43.Google Scholar

Rothwell, Kenneth, and Melzer, Annabelle. Shakespeare on Screen: An International Filmography and Videography. New York: Neal-Schuman, 1990.Google Scholar

Whitebrook, Peter. The Scotsman 24 August 1985.Google Scholar

Sources cited

Billington, Michael. [review]. The Guardian [London] 28 May 2004.Google Scholar

Burley, Oli. “Talented Cast Has the Measure of Shakespeare Classic.” www.indielondon.co.uk. Accessed 11 August 2014.Google Scholar

Cavendish, Dominic. “Darkness in the Daylight: Measure for Measure at Shakespeare’s Globe.” The Daily Telegraph [London]. www.telegraph.co.uk. 16.Google Scholar

Clover, David. [online review]. http://www.curtainup.com.Google Scholar

de Jongh, Nicholas. “Menace for Menace as Tragicomedy Turns to Nightmare.” Evening Standard [London] 28 May 2004.Google Scholar

Dessen, Alan C. “Measure for Measure at the RSC: 1997–8.” http://www.holycross.edu. Accessed 15 May 2013.Google Scholar

Friedman, Michael D. “Prostitution and Feminist Appropriation of Measure for Measure on the Stage.” http://www.holycross.edu. Accessed 15 May 2013.Google Scholar

Gardner, Lyn. The Guardian [London] 2 July 2004.Google Scholar

Geckle, George L. “Review of Measure for Measure. Royal Shakespeare Company.” Shakespeare Bulletin 13.1 (1995): 12–14.Google Scholar

Hemming, Sarah. [review]. Financial Times [London] 22 January 1999: 12.Google Scholar

Holland, Peter. “Shakespeare Performances in England.” Shakespeare Survey 45 (1992): 115–44.Google Scholar

Holland, Peter. “Shakespeare Performances in England.” Shakespeare Survey 48 (1996): 191–226.Google Scholar

Jackson, Russell. “Shakespeare at Stratford-upon-Avon, 1994–95.” Shakespeare Quarterly 46 (1995): 340–57.Google Scholar

Maguin, Jean-Marie. “Review of Measure for Measure. Royal Shakespeare Company.” Cahiers Elisabéthains 47 (1995): 105–07.Google Scholar

Mickelthwaite, Brian. Brian’s Culture Blog. 21 December 2004. http://www.brianmicklethwait.com/culture//cat_theatre.shtml. Accessed 15 May 2013.Google Scholar

Nicol, David. “Measure for Measure, a Co-production of Theatre de Complicité and the National Theatre Company at the Olivier Theatre.” Early Modern Literary Studies 10 (2004).Google Scholar

Nightingale, Benedict. [review]. The Times [London] 22 January 1999: 33.Google Scholar

Smith, P. J. “Measure for Measure: Directed by Trevor Nunn.” Cahiers Elisabéthains 42 (1992): 80.Google Scholar

Walker, Greg. “Measure for Measure: Directed by Michael Boyd.” Cahiers Elisabéthains 54 (1998): 127.Google Scholar

Book contents

Part XXII - Production History

Keywords

Access options

References

Sources cited

Further reading

Sources cited

Further reading

Sources cited

Further reading

Sources cited

Further reading

Sources cited

Further reading

Sources cited

Further reading

Sources cited

Further reading

Sources cited

Further reading

Sources cited

Further reading

Sources cited

Further reading

Sources cited

Further reading

Sources cited

Further reading

Sources cited

Further reading