Some newspaper reviews are taken from the monthly journal Theatre Record. A reference in the text of the sort ‘(TR 2002: 191)’ means, for example, that the review can be found on p. 191 of the Theatre Record for 2002.
References to the texts of Shakespeare's plays are, unless otherwise stated, from William Shakespeare: The Complete Works, ed. Stanley Wells and Gary Taylor (Oxford University Press 2005).
1997. Responses to Shakespeare. 8 vols. London: Routledge.
1932. The English Dramatic Critics: An Anthology. London: Arthur Baker.
The English Dramatic Critics: An Anthology. London: Arthur Baker.1943a. Brief Chronicles: A Survey of the Plays of Shakespeare and the Elizabethans in Actual Performance. London: Jonathan Cape.
1943b. These Were Actors: Extracts from a Newspaper Cutting Book, 1811–1833. London: Hutchinson.
1946. Those Were the Nights. London: Hutchinson.
1948. Ego 9: Concluding the Autobiography of James Agate. London: George Harrap.
1961. James Agate, An Anthology. . London: Rupert Hart-Davis.
1933. Review of Macbeth. The Times 9 April.
1961. Charles Macklin: An Actor's Life. Cambridge, MA: Harvard University Press.
1891. ‘The Free Stage and the New Drama’. Fortnightly Review 50, 664.
1896. The Theatrical ‘World’ for 1895. London: Walter Scott.
2008. ‘Romeo and Juliet Academic Theatre Review Kit’. Shakespeare Bulletin 26:1, 109--23.
1970. English Theatrical Literature 1559–1900: Bibliography Incorporating Robert W. Lowe's ‘A Bibliographical Account of English Theatrical Literature’ Published in 1888. London: The Society for Theatre Research.
1992. Theatre and Disorder in Late Georgian London. Oxford: Clarendon Press.
1983. The Social Mission of English Criticism 1848–1932. Oxford University Press.
1605. Bartas: his deuine weekes and workes translated: & dedicated to the Kings most excellent Maiestie, by . London.
1975. The Pleasure of the Text. Trans. . New York: Noonday Press.
1969. Macbeth and the Players. Cambridge University Press.
1989. Shakespearean Constitutions: Politics, Theatre, Criticism 1730–1830. Oxford University Press.
1986. The Complete Dramatic Works. London: Faber and Faber.
1896a. ‘An Unhappy Poet’. Saturday Review 82, 282–3, 315–16.
1896b. ‘Hold, Furious Scot!’ Saturday Review 82, 395–6.
1953. Around Theatres. London: Rupert Hart-Davis.
1969. More Theatres: 1898–1903. London: Rupert Hart-Davis.
1990. ‘Towards a Theory of the Periodical as Publishing Genre’ in Brake et al., Investigating Victorian Journalism, 19–30.
1996. ‘Texts, Time and Technology in News English’ in and , eds. Redesigning English: New Texts, New Identities. Milton Keynes: Open University Press. 3–26.
2001. David Garrick and the Birth of the Modern Theatre. London: Methuen.
1992. ‘The Work of Art in the Age of Mechanical Reproduction’ in , ed. Illuminations. London: Fontana. 211–44.
1997. Theatre Audiences: Theory of Production and Reception. London and New York: Routledge.
2008. Bentley on Brecht. 3rd edn. Evanston, IL: Northwestern University Press.
1941–68. The Jacobean and Caroline Stage. 7 vols. Oxford: Clarendon Press.
1993. One Night Stands: A Critic's view of British Theatre, 1971–91. London: Nick Hern.
2000a. Personal interview with author, June.
1987. The Eye of Prey. Bloomington: Indiana University Press.
1990. The Audience. Baltimore: Johns Hopkins University Press.
1997. The Anxiety of Influence: Theory of Poetry. 2nd edn. Oxford University Press.
1991. The Critic, Power and the Performing Arts. New York: Columbia University Press, 1991.
1986. Distinction: A Social Critique of the Judgement of Taste. Trans. . London: Routledge and Kegan Paul.
1909. ‘Hegel's Theory of Tragedy’ in Bradley, Oxford Lectures on Poetry. London: Macmillan.
1988. ‘The Old Journalism and the New: Forms of Cultural Production in London in the 1880s’ in Wiener, Papers for the Millions, 1–24.
1990. Investigating Victorian Journalism. New York: St Martin's Press.
, and , eds.
1997. Introduction to Macbeth by. Cambridge University Press, 1–93.
1964. Brecht on Theatre. Ed. and trans. . London: Methuen.
1985. Carnival and Theater: Plebeian Culture and the Structure of Authority in Renaissance England. London: Methuen.
1990. Macbeth by. Oxford: Clarendon Press.
1985. Victorian News and Newspapers. Oxford: Clarendon Press.
1996. Shakespeare, Theory, and Performance. London: Routledge.
1995. ‘The Ethics of the Signature’ in Seán Burke, ed. Authorship: From Plato to the Postmodern, A Reader. Edinburgh University Press. 285–91.
1967. Great Acting. London: Hill and Wang.
1989. ‘Theatre Audiences and the Reading of Performance’ in Postlewait and McConachie, eds., Interpreting the Theatrical Past, 82–98.
2003. The Haunted Stage: The Theatre as Memory Machine. Ann Arbor: University of Michigan Press.
1931. ‘Grievances and Disabilities in Criticism’. Critics’ Circular 5:17 (May), 1–2.
2013. Shakespeare Beyond English:A Global Experiment. Cambridge University Press.
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1989. British Theatre, A Bibliography 1901 to 1985. Mottisfont: Motley Press, 1989.
1964. Max: Biography. London: Constable.
2002. Understanding Power: The Indispensable Chomsky. Ed. and . New York: The New Press.
2010. From Grub Street to Fleet Street: An Illustrated History of English Newspapers to 1899. Brighton: Revel Barker Publishing.
2007. The Shakespeare Riots: Revenge, Drama, and Death in Nineteenth-Century America. New York: Random House.
1988. ‘The Critic as Journalist: Leavis after Scrutiny’ in Treglown and Bennett, eds., Grub Street and the Ivory Tower, 51–76.
2010. The Language of Newspapers: Socio-historical Perspectives. London: Continuum.
1961. Enemies of Promise. Harmondsworth: Penguin.
1883. Nights at the Play. London: Chatto and Windus.
‘1989. I, An Actor. London: Pan Books.
’ ( and )
‘The Critic's Progress’ ( ) 1895. Saturday Review 79 (15 June), 796.
2000. ‘Casting Black Actors: Beyond Othellophilia’ in and , eds. Shakespeare and Race. Cambridge University Press. 177–202.
1989. Max Beerbohm and the Act of Writing. Oxford: Clarendon Press.
1995. Writing Performances. London: Routledge.
1924. ‘The Producer’. Critics’ Circular 1:3 (April), 4.
1942. ‘Minutes of the Annual General Meeting’. Critics’ Circular 8:29 (June), 15.
1960. Six Thousand and One Nights, Forty Years a Critic. London: George G. Harrap.
2008. Flat Earth News. London: Chatto and Windus.
1971. Dramatic Miscellanies: Consisting of Critical Observations on Several Plays. New York: Benjamin Blom.
1999. ‘The Arithmetic of Memory: Shakespeare's Theatre and the National Past’. Shakespeare Survey 52, 54–67.
1988. Limited Inc. Evanston, IL: Northwestern University Press.
2012a. Email to author. 8 November.
1967–8. ‘Kemble and Mrs Siddons in Macbeth: The Romantic Approach to Tragic Character’. Theatre Notebook 22:2, 65–86.
1970. Dramatic Character in the English Romantic Age. Princeton University Press.
1987. Roscius Anglicanus. Ed. and . London: The Society for Theatre Research.
‘2002. Private Eye no. 1053 (3–16 May), 8.
2001. Life Itself!London: Virago Press.
1996. ‘Squeaking Cleopatras: Gender and Performance in Antony and Cleopatra’ in Bulman, ed., Shakespeare, Theory, and Performance, 46–67.
‘Editorial’ 1898. Saturday Review 85 (11 June), 769.
2010. Reviewing Shakespearean Theatre: The State of the Art. Special issue of the Shakespeare Association's journal Shakespeare 6.3. London: Routledge.
, and , eds.
2013. A Year of Shakespeare: Re-living the World Shakespeare Festival. London: Arden.
, and , eds.
1989. Fear of Falling: The Inner Life of the Middle Class. New York: HarperCollins.
1964. ‘Tradition and the Individual Talent’ in Eliot, Selected Essays, 3rd edn. London: Faber and Faber.
1997. In Defence of History. London: Granta.
1847. Studies of Shakespeare. London: Longman, Brown, Green and Longmans.
1925. A Player under Three Reigns. London: T. Fisher Unwin.
1997. Newszak and News Media. London: Arnold.
1744. An Essay on Acting: In which will be consider'd The Mimical Behaviour of Certain fashionable faulty Actor, and the Laudableness of such unmannerly, as well as inhumane Proceedings, To which will be added, A Short Criticism on His acting Macbeth. London. Extracts repr. in Vickers, ed., Shakespeare: The Critical Heritage Vol. iii 1733–1752.
1981. The Plays of David Garrick. Vol. iii: Garrick's Adaptations of Shakespeare 1744–1756. Ed. and Bergmann. Carbondale, IL: Southern Illinois University Press.
1969. The Dramatic Censor; or, Critical Companion Volumes i and ii. Farnborough: Gregg International.
1990. Manhood in the Making: Cultural Concepts of Masculinity. New Haven, CT: Yale University Press.
1991. The Modernist Shakespeare: Critical Texts in a Material World. Oxford: Clarendon Press.
1931. Theatrical Criticism in London to 1795. New York: Benjamin Blom.
1927. ‘The Second International Congress of Critics at Salzburg’. Critics’ Circular 3:12 (November), 2.
1899. Dramatic Criticism. London: J. Long.
2000. Personal interview with author, June.
1989. Rebuilding Shakespeare's Globe. London: Weidenfeld & Nicolson.
1992. The Structural Transformation of the Public Sphere: An Inquiry into a Category of Bourgeois Society. Trans. . Cambridge: Polity Press.
1986. Agate: A Biography. London: Methuen.
1986. That Shakespeherian Rag: Essays on a Critical Process. London: Methuen.
1992. Meaning by Shakespeare. London: Routledge.
1969. The Life of Edmund Kean. New York: Benjamin Blom.
1854. Criticisms and Dramatic Essays of the English Stage. 2nd edn. London: Routledge.
1930–4. Complete Works of William Hazlitt. Ed. . 21 vols. London: Dent and Co.
1969. ‘George Bernard Shaw on Shakespearian Music and the Actor’. Shakespeare Quarterly 20, 417–26.
1999. ‘Writing in the Dark: Fifty Years of British Theatre Criticism’. New Theatre Quarterly 59 (August), 236–42.
1966. Edmund Kean. New York: MS Press.
1978. Indirect Journey: An Autobiography. London: Weidenfeld and Nicolson.
1998. The Shakespeare Trade: Performances and Appropriations. Philadelphia, PA: University of Pennsylvania Press.
1958. The London Stage 1660–1800: Part 5, 1776–1800. Carbondale, IL: Southern Illinois University Press.
1988. Olivier. London: Weidenfeld & Nicolson.
1988. The Shakespeare Myth. Manchester University Press, 1988.
1997. English Shakespeares: Shakespeare on the English Stage in the 1990s. Cambridge University Press.
1990. Bernard Shaw. Vol. i: 1856–1898, The Search for Love. London: Penguin.
1981. Henry Irving, Shakespearean. Cambridge University Press.
1999. Reconstructing Contexts: The Aims and Principles of Archaeo-Historicism. Oxford University Press.
1949. Leigh Hunt's Dramatic Criticism 1808–1831. Ed. L.H. and . New York: Columbia University Press.
1978. ‘J.F. Nisbet of The Times: Conservative Critic of the ’Eighties and ’Nineties’. Theatre Research International 3, 114–25.
1985. ‘Shakespeare in the Theatrical Criticism of Henry Morley’. Shakespeare Survey 38, 187–200.
1994. ‘Shaw's Reviews of Daly's Shakespeare: The Wooing of Ada Rehan’. Theatre Research International 19, 203–13.
1948. The Scenic Art: Notes on Acting and the Drama 1872–1901. Ed. . New Brunswick, NJ: Rutgers University Press.
1982. Toward an Aesthetic of Reception. Trans. . Brighton: Harvester.
1908. Johnson on Shakespeare. Ed. . Oxford University Press.
1997. ‘Macbeth and King Richard III: an Essay, in Answer to Remarks on Some Characters of Shakespeare’ in Adler, ed., Responses to Shakespeare. Vol. v :1808–1825.
1993. Looking at Shakespeare: A Visual History of Twentieth-Century Performance. Cambridge University Press.
1980. ‘Periodical Critics of Drama, Music and Art, 1830–1914: Preliminary List’. Victorian Periodicals Review 13, 31–55.
1986. ‘More Critics of Drama, Music and Art’. Victorian Periodicals Review 19, 99–105.
1992. Shakespeare in Performance: Macbeth. Manchester University Press.
1893. Theatrical Notes. London: Lawrence & Bullen.
2002. Review of Measure for Measure. Independent 12 April.
1977. The Rise of Professionalism: A Sociological Analysis. Berkeley: University of California Press.
2012. All the Countries We've Ever Invaded: And the Few We Never Got Round To. Stroud: The History Press.
1939. Dramatic Criticism. London: Sir Isaac Pitman.
1985. Plays in Review 1956–1980: British Drama and the Critics. London: Batsford Academic and Educational.
1894. Leigh Hunt Dramatic Essays. London: Walter Scott Ltd.
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1895. William Hazlitt, A View of the English Stage; or, a series of dramatic criticisms. London: Walter Scott Ltd.
1896. John Forster and George Henry Lewes: Dramatic Essays. London: Walter Scott Ltd.
1875. Macready's Reminiscences, and Selections from his Diaries and Letters. Ed. . 2 vols. London: Macmillan.
1912. The Diaries of William Charles Macready 1833–1851. Ed. . 2 vols. London: Chapman and Hall.
1968. Ellen Terry. London: Heinemann.
‘Marie Corelli’ 1896. Saturday Review 82 (26 September), 337.
1985. ‘Shakespeare, the Reviewer, and the Theatre Historian’. Shakespeare Quarterly 36, 648–61.
2007. The Death of the Critic. London: Continuum.
1994. News and Journalism in the UK. London: Routledge.
1990. Collective Remembering. London: Sage Publications.
and , eds.
2000. The Mystery of Courage. Cambridge, MA: Harvard University Press.
1888. The Life and Adventures of Edmund Kean, Tragedian, 1787–1833. 2 vols. London: Ward and Downey.
1972. ‘William Poel’. Shakespeare Quarterly 23, 21–36.
1963. ‘Essay on the Dramatic Character of Sir John Falstaff’ in D. Nichol Smith, ed. Eighteenth-Century Essays on Shakespeare, 2nd edn. Oxford: Clarendon Press. 203–83.
1932. The English Newspaper: Some Account of the Physical Development of Journals Printed in London Between 1622 and the Present Day. Cambridge University Press.
1882. Essays in Theatrical Criticism. London: Remington & Co.
‘Mr Clement Scott's Ignorance.’ 1896. Letter. Saturday Review 82 (24 October), 444.
1997. Shakespeare's Globe Rebuilt. Cambridge University Press.
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2002. Smoking with Lulu. London: Oberon Books.
1801. The Life of David Garrick. 2 vols. London: Joseph Wright.
1995. ‘Oaths and Oracles: Will the Globe Spin on an Axis of “Authenticity”?’ Shakespeare Bulletin 13:3, 27–32.
1990. Two Shakespearean Actors. London: Faber and Faber.
2004. Tynan: Based on the Book The Diaries of Kenneth Tynan, edited by John Lahr. London: Faber and Faber.
2006. Communities of Journalism: A History of American Newspapers and their Readers. Champaign: University of Illinois Press.
1889. ‘The New Journalism’. The New Review 1, 423.
2002. The Authentic Shakespeare, and Other Problems of the Early Modern Stage. London: Routledge.
1996. ‘The Rhetoric of Evidence: The Narration and Display of Viola and Olivia in the Nineteenth Century’ in Pechter, ed., Textual and Theatrical Shakespeare, 124–43.
1996. Textual and Theatrical Shakespeare: Questions of Evidence. Iowa City, IA: University of Iowa Press.
1989. Interpreting the Theatrical Past: Essays in the Historiography of Performance. Iowa City, IA: University of Iowa Press.
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1959. Northcliffe. London: Cassel.
2012. ‘Nothing if not critical’: International Perspectives on Shakespearean Theatre Criticism Special Issue of Cahiers Élisabéthains. Montpellier.
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1969. Life of Edmund Kean. 2 Vols. New York: Benjamin Blom.
1990. ‘Reading the Periodical Press: Text and Context’ in Brake et al., Investigating Victorian Journalism, 1–18.
1990. ‘Artifacts, Memory and a Sense of the Past’ in Middleton and Edwards, eds., Collective Remembering, 46–59.
1993. Flogging a Dead Horse: Heritage Culture and its Role in Post-industrial Britain. Manchester: Cornerhouse Publications.
1999. 1956 and All That: The Making of Modern British Drama. London: Routledge.
‘Review of Reviews’ 1897. Saturday Review 83 (13 March), 279.
2007. Analysing Newspapers: An Approach from Critical Discourse Analysis. Basingstoke: Palgrave.
1996. Cities of the Dead: Circum-Atlantic Performance. New York: Columbia University Press, 1996.
2000. ‘The Performance’ in , ed. The Cambridge Companion to English Restoration Theatre. Cambridge University Press.19–39.
2002. ‘Shakespeare, Theatre Criticism, and the Acting Tradition’. Shakespeare Quarterly 53:3, 341–61.
1978. The Masks of Macbeth. Berkeley: University of California Press.
1982. ‘Macbeth and Lady Macbeth in the Eighteenth and Nineteenth Centuries’ in Brown, ed. Focus on Macbeth. London: Routledge and Kegan Paul. 73–86.
1896. Review of The Musketeers. Saturday Review 86 (12 November), 631.
1971. Victorian Dramatic Criticism. London: Methuen.
1899. Review of The Perfect Wagnerite. Saturday Review 87 (4 February), 140.
2001. Enter the Body: Women and Representation on Shakespeare's Stage. London: Routledge.
1997. ‘Playing the Globe: Artistic Policy and Practice’ in Mulryne and Shewring, eds., Shakespeare's Globe Rebuilt, 169–76.
1994. Theatres of Memory. Vol. i: Past and Present in Contemporary Culture. London: Verso.
1896. From ‘The Bells’ to ‘King Arthur’, a Critical Record of the First-Night Productions at the Lyceum Theatre from 1871 to 1895. London: John Macqueen.
1899. The Drama of Yesterday and To-day. 2 vols. London: Macmillan.
1991. The British Press and Broadcasting since 1945. Oxford: Blackwell.
2005. The Complete Works. Ed. , , and . Oxford University Press.
1891] 1971. Appendix to The Quintessence of Ibsenism in Rowell, ed., Victorian Dramatic Criticism, 361–3.
1899. ‘The Perfect Wagnerite’. Letter. Saturday Review 87 (11 February), 177.
1920. ‘“The Dying Tongue of Great Elizabeth” by George Bernard Shaw…To which is added a Footnote by William Poel. Published by the London Shakespeare League’. London: London Shakespeare League.
1932. Our Theatres in the Nineties. 3 vols. London: Constable.
1934. Fanny's First Play. The Complete Plays of Bernard Shaw. London: Odhams Press Limited. 651–83.
1937. London Music in 1888–89 as Heard by Corno di Bassetto. London: Constable.
1949a. Ellen Terry and George Bernard Shaw: Correspondence. Ed. . London: Reinhardt and Evans.
1949b. Sixteen Self Sketches. London: Constable.
1956. Advice to a Young Critic, Letters 1894–1928. London: Peter Owen Ltd.
1960. How to Become a Musical Critic. Ed. . London: Rupert Hart-Davis.
1961. Shaw on Shakespeare. Ed. . New York: E.P. Dutton.
1981. Shaw's Music: The Complete Musical Criticism in Three Volumes. Ed. . London: Max Reinhardt.
1986. ‘The Sanity of Art: An Exposure of the Current Nonsense about Artists being Degenerate’ in , ed. Bernard Shaw: Major Critical Essays. Harmondsworth: Penguin. 309–60.
1995. Harold Hobson: Witness and Judge. Keele University Press.
2003. Kenneth Tynan: A Life. New Haven, CT: Yale University Press.
1940. The Critic. Ed. . London: J.M. Dent.
1996. Fringe and Fortune: The Role of Critics in High and Popular Art. Princeton University Press.
‘Saturday Review 79 (1 June), 718.
2013. ‘Julius Caesar’ in Edmondson, Prescott and Sullivan, eds., A Year of Shakespeare, 91–5.
1988. Contingencies of Value: Alternative Perspectives for Critical Theory. Cambridge, MA: Harvard University Press.
2000. Shakespeare and Masculinity. Oxford University Press.
Society of Dramatic Critics. 1907. ‘Suggested Rules to be Submitted at a General Meeting, January 4th, 1907’. London.
1985.The Frogs and A Funny Thing Happened on the Way to the Forum. New York: Dodd, Mead and Co.
2000. Personal interview with author, June.
1947. ‘Shakespeare and William Poel’. University of Toronto Quarterly 17, 29–37.
1902. ‘Character Sketch: Mr. T.P. O’Connor, M.P.’ Review of Reviews 26, 478–9.
1995. ‘Theatre’ in J. and Rosemary T. VanArsdel, eds. Victorian Periodicals and Victorian Society. University of Toronto Press. 162–76.
2000. Who Keeps the Score on the London Stages?Amsterdam: Harwood.
1967. Language and Silence: Essays 1958–1966. London: Faber and Faber.
1972. Resistible Theatres: Enterprise and Experiment in the Late Nineteenth Century. London: Paul Elek Books.
1957. The London Stage 1660–1800: Part 4, 1747–1776. Carbondale, IL: Southern Illinois University Press.
1979. David Garrick: Critical Biography. London: Feffer & Simons.
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1968. The Real Inspector Hound. London: Faber.
2002. Anatomy of Abuses. Ed. . Renaissance English Text Society. Tempe: Arizona Center for Medieval and Renaissance Studies.
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1993. Shakespearean Criticism Volume XX: Macbeth and Timon of Athens. Detroit: Gale Research Inc.
1991. Reinventing Shakespeare: Cultural History from the Restoration to the Present. London: Vintage.
1996. Cultural Selection. New York: Basic Books.
1933. Ellen Terry's Memoirs, with Preface, Notes and Additional Biographical Chapters by Edith Craig and Christopher St. John. London: Victor Gollancz.
Theatre of Blood 1973. Screenplay by Anthony Greville-Ball. Dir. Douglas Hickox. MGM/UA.
1989. Theatre in Europe – A Documentary History: Restoration and Georgian England, 1660–1788. Cambridge University Press.
2000. On Actors and Acting. University of Exeter Press.
TR = see Theatre Record.
1988. Grub Street and the Ivory Tower: Literary Journalism and Literary Scholarship from Fielding to the Internet. Oxford: Clarendon Press.
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1964. Shakespeare on the English Stage, 1900–1964. London: Barrie and Rockliff.
1987. The Life of Kenneth Tynan. London: Methuen.
1950. He That Plays the King. London: Longman.
1953. ‘Down with Scarecrows, Snobs and Sniggers!’ Daily Sketch 2 October. 4.
1961a. Curtains. London: Longman.
1961b. ‘Post-mortem on the Egoist’ Observer.
1964. Tynan on Theatre. Harmondsworth: Penguin.
1966. Bull Fever: New Edition with Some Afterthoughts. New York: Atheneum.
1967. Tynan Right and Left. London: Longmans.
1971. ‘The Critic Comes Full Circle’. Theatre Quarterly 1, 37–48.
1975a. A View of the English Stage. London: Davis-Poynter.
1975b. The Sound of Two Hands Clapping. London: Jonathan Cape.
1994. The Letters of Kenneth Tynan. Ed. . London: Weidenfeld & Nicolson.
2001. The Diaries of Kenneth Tynan. Ed. . London: Bloomsbury.
1982. ‘John Philip Kemble and the Critics’. Theatre Notebook 36, 110–18.
1988. News Analysis. New Jersey: L.E.A.
1975. Shakespeare: The Critical Heritage. Vol. iii: 1733–1752. London: Routledge and Kegan Paul.
1892. Playhouse Impressions. London: Fisher Unwin.
1903. Dramatic Criticism. London: John Murray.
1980. Review of Macbeth. The Times 5 September.
1992. Theatre Criticism. London: Routledge and Kegan Paul.
1997. ‘Thieves and Parasites: On Forty Years of Theatre Reviewing in England’. New Theatre Quarterly 13:50 (May), 119–32.
1952. An Experience of Critics and The Approach to Dramatic Criticism. London: Perpetua.
1988. ‘Bifold Authority in Shakespeare's Theater’. Shakespeare Quarterly 39:4, 401–17.
1923. ‘Probation for Critics’. Critics’ Circular 1:1 (November), 5.
1976. ‘Shakespeare in Max Beerbohm's Theatre Criticism’. Shakespeare Survey 29, 132–44.
1980. ‘Shakespeare in Leigh Hunt's Theatre Criticism’. Essays and Studies, 119–38.
1982. ‘Shakespeare in Hazlitt's Theatre Criticism’. Shakespeare Survey 35, 43–55.
1997. Shakespeare in the Theatre: An Anthology of Criticism. Oxford University Press.
2001. Shakespeare and Feminist Performance: Ideology on Stage. London: Routledge.
1997. ‘Remarks on Some of the Characters of Shakespeare’ in Adler, ed., Responses to Shakespeare. Vol. iii: 1783–1791, n.p.
1988. Papers for the Millions: The New Journalism in Britain, 1850s to 1914. London: Greenwood Press.
1950. ‘The Critic as Artist, with Some Remarks upon the Importance of Doing Nothing’ in Hesketh Pearson, ed. Essays by Oscar Wilde. London: Methuen. 100–88.
1961. The Long Revolution. London: Chatto and Windus.
1941. Editorial. Critics’ Circular 7:28 (June), 1.
1975. ‘Charles Kean and the Victorian Press’. Victorian Periodicals Newsletter 8, 95–108.
1925. The Common Reader. London: Hogarth Press.
1997. Shakespeare and the Authority of Performance. Cambridge University Press.