Book contents
- Frontmatter
- Having Our Will: Imagination in Recent Shakespeare Biographies
- Toward a New Biography of Shakespeare
- Jonson, Shakespeare and the Exorcists
- ‘Lending soft audience to my sweet design’: Shifting Roles and Shifting Readings of Shakespeare’s ‘A Lover’s Complaint’
- ‘Armed at point exactly’: The Ghost in Hamlet
- Writing About Motive: Isabella, the Duke and Moral Authority
- Writing Performance: How to Elegize Elizabethan Actors
- Elizabeth Montagu: ‘Shakespear’s poor little Critick’?
- Rewriting Lear’s Untender Daughter: Fanny Price as a Regency Cordelia in Jane Austen’s Mansfield Park
- The Prequel as Palinode: Mary Cowden Clarke’s Girlhood of Shakespeare’s Heroines
- Shakespeare Among the Workers
- Virginia Woolf Reads Shakespeare: Or, her Silence on Master William
- Shakespeare and the Invention of the Epic Theatre: Working with Brecht
- Dramatizing the Dramatist
- Shakespeare in Drama Since 1990: Vanishing Act
- Writing about [Shakespearian] performance
- Shakespeare and the Prospect of Presentism
- Writing Shakespeare in the Global Economy
- The ‘Complexion’ of Twelfth Night
- Translation as Appropriation: Vassilis Rotas, Shakespeare and Modern Greek
- How Old Were Shakespeare’s Boy Actors?
- Mistress Tale Porter and the Triumph of Time: Slander and Old Wives’ Tales in The Winter’s Tale
- Shakespeare Performances in Ireland, 2002–2004
- Shakespeare Performances in England, 2004
- Professional Shakespeare Productions in the British Isles January–December 2003
- The Year's Contributions to Shakespearian Study 1 Critical Studies
- 2 Shakespeare in Performance
- 3 Editions and Textual Studies
- Books Received
- Index
Professional Shakespeare Productions in the British Isles January–December 2003
Published online by Cambridge University Press: 28 March 2007
- Frontmatter
- Having Our Will: Imagination in Recent Shakespeare Biographies
- Toward a New Biography of Shakespeare
- Jonson, Shakespeare and the Exorcists
- ‘Lending soft audience to my sweet design’: Shifting Roles and Shifting Readings of Shakespeare’s ‘A Lover’s Complaint’
- ‘Armed at point exactly’: The Ghost in Hamlet
- Writing About Motive: Isabella, the Duke and Moral Authority
- Writing Performance: How to Elegize Elizabethan Actors
- Elizabeth Montagu: ‘Shakespear’s poor little Critick’?
- Rewriting Lear’s Untender Daughter: Fanny Price as a Regency Cordelia in Jane Austen’s Mansfield Park
- The Prequel as Palinode: Mary Cowden Clarke’s Girlhood of Shakespeare’s Heroines
- Shakespeare Among the Workers
- Virginia Woolf Reads Shakespeare: Or, her Silence on Master William
- Shakespeare and the Invention of the Epic Theatre: Working with Brecht
- Dramatizing the Dramatist
- Shakespeare in Drama Since 1990: Vanishing Act
- Writing about [Shakespearian] performance
- Shakespeare and the Prospect of Presentism
- Writing Shakespeare in the Global Economy
- The ‘Complexion’ of Twelfth Night
- Translation as Appropriation: Vassilis Rotas, Shakespeare and Modern Greek
- How Old Were Shakespeare’s Boy Actors?
- Mistress Tale Porter and the Triumph of Time: Slander and Old Wives’ Tales in The Winter’s Tale
- Shakespeare Performances in Ireland, 2002–2004
- Shakespeare Performances in England, 2004
- Professional Shakespeare Productions in the British Isles January–December 2003
- The Year's Contributions to Shakespearian Study 1 Critical Studies
- 2 Shakespeare in Performance
- 3 Editions and Textual Studies
- Books Received
- Index
Summary
Most of the productions listed are by professional companies, but some amateur productions are included. The information is taken from Touchstone ( www.touchstone.bham.ac.uk ), a Shakespeare website maintained by the Shakespeare Institute Library. Touchstone includes a monthly list of current and forthcoming UK Shakespeare productions from listings information. The Traffic of the Stage database, also available on Touchstone, archives UK Shakespeare production information since January 1993, correlating information from listings with reviews held in the Shakespeare Institute Library. The websites provided for theatre companies were accurate at the time of going to press.
ALL’S WELL THAT ENDS WELL
Royal Shakespeare Company. Swan Theatre, Stratford-upon-Avon, 3 December 2003– 7 February 2004.
www.rsc.org.uk
Director: Gregory Doran
Countess: Dame Judi Dench
Helena: Claudie Blakley
Parolles: Guy Henry
ANTONY AND CLEOPATRA
Glasgow Repertory Company. Botanic Gardens, Glasgow (Bard in the Botanics season). 15–27 July.
www.glasgowrep.org
Director: Scott Palmer
Set in 18th century India.
AS YOU LIKE IT
Sphinx Theatre Company (formally Women’s Theatre Group). Bridewell Theatre, London, 19–26 February and on tour.
Director: Sue Parrish
Rosalind: Danielle King
Royal Shakespeare Company. Swan Theatre, Stratford-upon-Avon, 13 March–8 November.s
www.rsc.org.uk
Director: Gregory Thompson
Rosalind: Nina Sosanya
Shakespeare at the Tobacco Factory. Tobacco Factory, Bedminster, Bristol, 20 March–26 April. www.shakespeareatthetobaccofactory.co.uk
Director: Andrew Hilton
Rosalind: Saskia Portway
R J Williamson Company. Nottingham Castle, Nottingham, 15 July–10 August and tour.
www.openairshakespeare.co.uk
Directors: Robert Williamson and Frank Jarvis
Rosalind: Martha Swann
Touchstone: Robert Williamson
Peter Hall Company. Theatre Royal, Bath, 11–30 August and international tour.
Director: Sir Peter Hall
Designer: John Gunter
Rosalind: Rebecca Hall
Touchstone: Michael Siberry
Jaques: Philip Voss
Oxford Stage Company. Lincoln’s Inn, London, 14–16 August. www.oxfordstage.co.uk
Director: Kevin Hosier
- Type
- Chapter
- Information
- Shakespeare Survey , pp. 298 - 307Publisher: Cambridge University PressPrint publication year: 2005