Rather than presenting the text Richard III in this study in terms of a long past moment of authorial intent, I have tracked its mutations through its continuous and increasingly global stage history, and given the interpretations implied in its various cultural manifestations as much, if not more, emphasis than the commentaries of academic critics.

I make no apologies for this; it is, after all, in the nature of the beast. Richard III has, Frankenstein-like, (indeed, Frankenstein-like) escaped from its creator, into the wilderness of a disturbing psychological and historical terrain. And it is of the essence of the play that its performers have given it life in a way that commentators have more often than not been unable to. Consequently, references to productions (all the more recent ones seen by myself, live or on video) occur throughout the text, rather than being gathered together in a section on ‘staging’. I have adopted the practice of labelling a production with its lead actor's and its director's name, the actor's coming first.

I have also, while indicating areas of academic debate, put references and citations in the endnotes to each section. This book aims to bridge the gap between the ordinary reader or play-goer and the student, and to offer something accessible and useful to both; summaries of critical controversy seem, in such a short book, best given concisely and apart. A full bibliography, with commentary, offers a route towards further reading.