Book contents
- Frontmatter
- Sarah Siddons, theatre voices and recorded memory
- Playing with Shakespeare’s play: Branagh’s Love’s Labour’s Lost
- Bottom and the gramophone: Media, class and comedy in Michael Hoffman’s A Midsummer Night's Dream
- Maurice Evans’s Richard II on Stage, Television and (Almost) Film
- Richard II on the Screen
- ‘Where Lies Your Text?’: Twelfth Night in American Sign Language Translation
- ‘This uncivil and unjust extent against thy peace’: Tim supple’s Twelfth Night, or what violence will
- ‘There’s no such thing’: nothing and nakedness in Polanski’s Macbeth
- Ghosts and mirrors: the gaze in film Hamlets
- ‘Ben, it’s a terrible thing to hate your mother’: mind control in Hamlet and The Manchurian Candidate
- Channelling the ghosts: the Wooster Group’s remediation of the 1964 Electronovision Hamlet
- Listening to Prospero’s Books
- Lend Me Your Ears: Sampling BBC Radio Shakespeare
- An Age of Kings and The ‘Normal American’
- Shakespeare and British Television
- A Local Habitation and a Name: Television and Shakespeare
- Paying attention in Shakespeare parody: from Tom Stoppard to YouTube
- Madagascan will: cinematic Shakespeares / transnational exchanges
- Still life? Anthropocentrism and the fly in Titus Andronicus and Volpone
- Riddling q1: Hamlet’s mill and the trickster
- ‘Speak, that I may see thee’: Shakespeare characters and common words
- Who do the people love?
- A Partial Theory of Original Practice
- Shakespeare Performances in England, 2007
- Professional Shakespeare productions in the British Isles, January–December 2006
- The Year's Contributions to Shakespearian Study 1 Critical studies
- 2 Shakespeare in performance
- 3a Editions and textual studies
- 3b Editions and textual studies: The RSC Complete Works
- Index to Volume 61
Professional Shakespeare productions in the British Isles, January–December 2006
Published online by Cambridge University Press: 28 November 2008
- Frontmatter
- Sarah Siddons, theatre voices and recorded memory
- Playing with Shakespeare’s play: Branagh’s Love’s Labour’s Lost
- Bottom and the gramophone: Media, class and comedy in Michael Hoffman’s A Midsummer Night's Dream
- Maurice Evans’s Richard II on Stage, Television and (Almost) Film
- Richard II on the Screen
- ‘Where Lies Your Text?’: Twelfth Night in American Sign Language Translation
- ‘This uncivil and unjust extent against thy peace’: Tim supple’s Twelfth Night, or what violence will
- ‘There’s no such thing’: nothing and nakedness in Polanski’s Macbeth
- Ghosts and mirrors: the gaze in film Hamlets
- ‘Ben, it’s a terrible thing to hate your mother’: mind control in Hamlet and The Manchurian Candidate
- Channelling the ghosts: the Wooster Group’s remediation of the 1964 Electronovision Hamlet
- Listening to Prospero’s Books
- Lend Me Your Ears: Sampling BBC Radio Shakespeare
- An Age of Kings and The ‘Normal American’
- Shakespeare and British Television
- A Local Habitation and a Name: Television and Shakespeare
- Paying attention in Shakespeare parody: from Tom Stoppard to YouTube
- Madagascan will: cinematic Shakespeares / transnational exchanges
- Still life? Anthropocentrism and the fly in Titus Andronicus and Volpone
- Riddling q1: Hamlet’s mill and the trickster
- ‘Speak, that I may see thee’: Shakespeare characters and common words
- Who do the people love?
- A Partial Theory of Original Practice
- Shakespeare Performances in England, 2007
- Professional Shakespeare productions in the British Isles, January–December 2006
- The Year's Contributions to Shakespearian Study 1 Critical studies
- 2 Shakespeare in performance
- 3a Editions and textual studies
- 3b Editions and textual studies: The RSC Complete Works
- Index to Volume 61
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 websites provided for theatre companies were accurate at the time of going to press.
ANTONY AND CLEOPATRA
Royal Shakespeare Company. Swan Theatre, 19 April–14 October.
www.rsc.org.uk
Director: Gregory Doran
Antony: Patrick Stewart
Cleopatra: Harriet Walter
AS YOU LIKE IT
Royal Shakespeare Company. Novello Theatre, London, 7–25 March.
www.rsc.org.uk
Director: Dominic Cooke
Rosalind: Lia Williams
Celia: Amanda Harris
THE COMEDY OF ERRORS
Royal Shakespeare Company. Novello Theatre, 10–28 January. Transfer from Stratford-upon- Avon.
www.rsc.org.uk
Director: Nancy Meckler
Bell Shakespeare Company (Australia). Theatre Royal, Bath, 7–11 March.
www.bellshakespeare.com.au
Director: John Bell
Part of Bath Shakespeare Festival.
Bard in the Botanics. Botanical Gardens, Glasgow, 21 June–8 July.
www.bardinthebotanics.org
Director: Gordon Barr
Shakespeare’s Globe, London, 1 August– 7 October.
www.shakespeares-globe.org
Director: Christopher Luscombe
CORIOLANUS
Stamford Shakespeare Festival. Rutland Open Air Theatre, Tolethorpe Hall, Tolethorpe, June– September.
www.stamfordshakespeare.co.uk
Shakespeare’s Globe, London, 10 May–13 August.
www.shakespeares-globe.org
Director: Dominic Dromgoole
Coriolanus: Jonathan Cake
Dromgoole’s inaugural production as Artistic Director of Shakespeare’s Globe.
- Type
- Chapter
- Information
- Shakespeare Survey , pp. 351 - 358Publisher: Cambridge University PressPrint publication year: 2008