Book contents
- Frontmatter
- Shakespeare’s Narremes
- Stepping Out of Narrative Line: A Bit of Word, and Horse, Play in Venus and Adonis
- A ‘consummation devoutly to be wished’: The Erotics of Narration in Venus and Adonis
- Echoes Inhabit a Garden: The Narratives of Romeo and Juliet
- A Midsummer Night’s Dream: Comedy as Apotrope of Myth
- Plutarch, Insurrection, and Dearth in Coriolanus
- Shakespeare, Crossing the Rubicon
- Vernacular Criticism and the Scenes Shakespeare Never Wrote
- The Shadow of Lear’s ‘Houseless’ in Dickens
- Shakespearian Margins in George Eliot’s ‘working-day world’
- In Her Father’s Library: Margaret Fuller and the Making of the American Miranda
- The Magician in Love
- Narrative Approaches to Shakespeare: Active Storytelling in Schools
- Monsters, Magicians, Movies: The Tempest and the Final Frontier
- Shakespeare’s Self-Repetitions and King John
- Inside Othello
- The View of London from the North and the Playhouses in Holywell
- Measured Endings: How Productions from 1720 to 1929 Close Shakespeare’s Open Silences in Measure for Measure
- Shakespearian Utopias
- Shakespeare Performances in England, 1999
- Professional Shakespeare Productions in the British Isles January–December 1998
- The Year's Contributions to Shakespearian Study 1 Critical Studies
- 2 Shakespeare’s Life, Times, and Stage
- 3 Editions and Textual Studies
- Books Received
- Index
Professional Shakespeare Productions in the British Isles January–December 1998
Published online by Cambridge University Press: 28 March 2007
- Frontmatter
- Shakespeare’s Narremes
- Stepping Out of Narrative Line: A Bit of Word, and Horse, Play in Venus and Adonis
- A ‘consummation devoutly to be wished’: The Erotics of Narration in Venus and Adonis
- Echoes Inhabit a Garden: The Narratives of Romeo and Juliet
- A Midsummer Night’s Dream: Comedy as Apotrope of Myth
- Plutarch, Insurrection, and Dearth in Coriolanus
- Shakespeare, Crossing the Rubicon
- Vernacular Criticism and the Scenes Shakespeare Never Wrote
- The Shadow of Lear’s ‘Houseless’ in Dickens
- Shakespearian Margins in George Eliot’s ‘working-day world’
- In Her Father’s Library: Margaret Fuller and the Making of the American Miranda
- The Magician in Love
- Narrative Approaches to Shakespeare: Active Storytelling in Schools
- Monsters, Magicians, Movies: The Tempest and the Final Frontier
- Shakespeare’s Self-Repetitions and King John
- Inside Othello
- The View of London from the North and the Playhouses in Holywell
- Measured Endings: How Productions from 1720 to 1929 Close Shakespeare’s Open Silences in Measure for Measure
- Shakespearian Utopias
- Shakespeare Performances in England, 1999
- Professional Shakespeare Productions in the British Isles January–December 1998
- The Year's Contributions to Shakespearian Study 1 Critical Studies
- 2 Shakespeare’s Life, Times, and Stage
- 3 Editions and Textual Studies
- Books Received
- Index
Summary
Most of the productions listed are by professional or semi-professional companies. Productions originating in 1997 or earlier have only been included if there is new information. Details are mainly taken from newspaper reviews held in the Birmingham Shakespeare Library.
ANTONY AND CLEOPATRA
Theatre Set Up, tour of the Netherlands: June 1998–
Director: Wendy McPhee
Salisbury Playhouse and the ESC, tour with As You Like It: August 1998–
Director: Michael Bogdanov and Jonathan Church
Designer: Yannis Thavomis
Antony: Tim Woodward
Cleopatra: Cathy Tyson
A mix of modern and more traditional props were used for a production which was concerned with both political struggle and personal relationships. Both productions were seen at the first Bath Shakespeare Festival.
The Royal National Theatre: October 1998—
Director: Sean Mathias
Designer: Tim Hatley
Music: James Wood
Antony: Alan Rickman
Cleopatra: Helen Mirren.
Played against a huge cratered map.
Adaptation
Cleopatra by Steve Clarke and Bill Scott Miracle Theatre Company, Heligan Garden, Cornwall: June 1998
A new play, telling Cleopatra's story.
- Type
- Chapter
- Information
- Shakespeare SurveyAn Annual Survey of Shakespeare Studies and Production, pp. 274 - 286Publisher: Cambridge University PressPrint publication year: 2000