Book contents
- Frontmatter
- Shakespeare and the Eighteenth Century: Criticism and Research
- Daddy’s Girls: Shakespearian Daughters and Eighteenth-Century Ideology
- Shakespeare and Clarissa: ‘General Nature’, Genre and Sexuality
- Early Georgian Politics and Shakespeare: The Black Act and Charles Johnson’s Love in a Forest (1723)
- Race Mattered: Othello in Late Eighteenth-Century England
- From Pericles to Marina: ‘While Women are to be had for Money, Love, or Importunity’
- ‘A Thousand Twangling Instruments’: Music and The Tempest on The Eighteenth-Centruy London Stage
- Double Falsehood and the Verbal Parallels with Shelton’s Don Quixote
- Eighteenth-Century Performances of Shakespeare Recorded in the Theatrical Portraits of the Garrick Club
- Eighteenth-Century Editing, ‘Appropriation’, and Interpretation
- Shakespeare Survey: Beginnings and Continuities
- Destined Livery? Character and Person in Shakespeare
- Prejudice and Law in The Merchant of Venice
- ‘Many A Civil Monster’: Shakespeare’s Idea of the Centaur
- Shakespeare’s International Currency
- Repeopling the Globe: The Opening Season at Shakespeare’s Globe, London 1997
- Shakespeare Performances in England, 1997
- Professional Shakespeare Productions in the British Isles, January–December 1996
- TheYear's Contributions to Shakespeare Studies: 1 Critical Studies
- 2 Shakespeare’s Life, Times, and Stage
- 3 Editions and Textual Studies
- Books Received
- Index to Volume 51
- General Index to Volumes 41–50
Professional Shakespeare Productions in the British Isles, January–December 1996
Published online by Cambridge University Press: 28 March 2007
- Frontmatter
- Shakespeare and the Eighteenth Century: Criticism and Research
- Daddy’s Girls: Shakespearian Daughters and Eighteenth-Century Ideology
- Shakespeare and Clarissa: ‘General Nature’, Genre and Sexuality
- Early Georgian Politics and Shakespeare: The Black Act and Charles Johnson’s Love in a Forest (1723)
- Race Mattered: Othello in Late Eighteenth-Century England
- From Pericles to Marina: ‘While Women are to be had for Money, Love, or Importunity’
- ‘A Thousand Twangling Instruments’: Music and The Tempest on The Eighteenth-Centruy London Stage
- Double Falsehood and the Verbal Parallels with Shelton’s Don Quixote
- Eighteenth-Century Performances of Shakespeare Recorded in the Theatrical Portraits of the Garrick Club
- Eighteenth-Century Editing, ‘Appropriation’, and Interpretation
- Shakespeare Survey: Beginnings and Continuities
- Destined Livery? Character and Person in Shakespeare
- Prejudice and Law in The Merchant of Venice
- ‘Many A Civil Monster’: Shakespeare’s Idea of the Centaur
- Shakespeare’s International Currency
- Repeopling the Globe: The Opening Season at Shakespeare’s Globe, London 1997
- Shakespeare Performances in England, 1997
- Professional Shakespeare Productions in the British Isles, January–December 1996
- TheYear's Contributions to Shakespeare Studies: 1 Critical Studies
- 2 Shakespeare’s Life, Times, and Stage
- 3 Editions and Textual Studies
- Books Received
- Index to Volume 51
- General Index to Volumes 41–50
Summary
Most of the productions listed here are by professional or semi-professional companies. Information is mainly taken from newspaper reviews held in the Birmingham Shakespeare Library.
ALL’S WELL THAT ENDS WELL
Manchester Royal Exchange: September 1996
Director: Matthew Lloyd
Designer: Ashley Martin-Davies
Performed in the round, in the company's touring theatre tent, and set in the Second World War.
The Prince Theatre, the Prince of Orange pub, Greenwich, London: October 1996.
Director: Paul James
ANTONY AND CLEOPATRA
Northern Broadsides, tour continues. See Shakespeare Survey 30
1157 Theatre Company at the Tabard, London: June 1996
Director: Alasdair Middleton Warm baths taken on stage were used as a symbol of Egyptian degeneracy.
AS YOU LIKE IT
The RSC at the Royal Shakespeare Theatre, Stratford: April 1996-
Director: Steven Pimlott
Designer: Ashley Martin-Davis
Music: Jason Can-
Rosalind: Niamh Cusack
The BAC, Lavender Hill, Battersea, London: June 1996
Director/Music: Peter Brewis
Designer: Caroline Grebbell
Open Hand Productions, the Oxford Shakespeare Festival: July 1996
The Northcott Theatre, Exeter, in Rougemont Gardens: July 1996
Director: John Durnin
Rosalind: Tanya Ronder
A semi-musical production, set in the 1920s.
Bold and Saucy Theatre Company with Open Hand Productions, played in Oxford college gardens: July 1996
Contraband Theatre Company, in Queen's Park, London: August 1996
An all-female cast, with the exception of Touchstone, played by a man in drag.
R. J. Williamson Productions, tour of northern England, with Much Ado About Nothing: August 1996—
Theatre Unbound, tour of open-air sites, with Much Ado About Nothing: July 1996—
- Type
- Chapter
- Information
- Shakespeare Survey , pp. 257 - 270Publisher: Cambridge University PressPrint publication year: 1998