The history of The Tempest on the English-speaking stage from the Restoration era through mid nineteenth century is mainly a story of highly theatrical adaptations and alterations or of spectacular ‘illustrations’ of Shakespeare’s play. While, by the close of the nineteenth century, Shakespeare’s original text was the basis of presentations, many minor producers were still imitating the theatrical innovations of Samuel Phelps’s 1847 revival and major ones, such as Augustin Daly and Herbert Beerbohm Tree, were attempting to surpass the lavish illustrations of Charles Kean’s 1857 extravaganza.

But, at the same time, a new trend was evident, one which conflicted with the highly theatrical theory of staging and indicated a new direction for Tempest revivals in the twentieth century. For, at the turn of the century, some professional producers were intentionally attempting to pare down the traditionally superimposed spectacles rather than condensing the text to make room for them, and others, because of financial limitations, chose to present a simpler theatrical version rather than none at all. A study of this era is then particularly interesting because two conflicting theories of Tempest staging were being tested, providing reviewers and critics with an opportunity for comparison.