Book contents
- Frontmatter
- Shakespeare, text and paratext
- The popularity of Shakespeare in print
- The continuing importance of new Bibliographical method
- ‘Honour the real thing’: Shakespeare, Trauma and Titus Andronicus in South Africa
- ‘O, these encounterers’: on Shakespeare’s meetings and partings
- A play of modals: Grammar and potential action in early Shakespeare
- Merry, marry, Mary: Shakespearian wordplay and Twelfth Night
- A subtle point: Sleeves, tents and ‘Ariachne’s broken woof’ (again)
- The look of Othello
- Red button Shakespeare
- ‘Mark you / his absolute shall?’: Multitudinous tongues and contested words in Coriolanus
- Chagall’s Tempest: An autobiographical reading
- Reading illustrated editions: Methodology and the limits of interpretation
- Close encounters with Anne Brontë's Shakespeare
- Shakespeare and the magic lantern
- Shakespeare and the coconuts: close encounters in post-apartheid South Africa
- The Schrödinger effect: Reading and misreading performance
- Behind the scenes
- Inner monologues: Realist acting and/as Shakespearian performance text
- More japanized, casual and transgender shakespeares
- Translation futures: Shakespearians and the foreign text
- After translation
- ‘The single and peculiar life’: Hamlet’s heart and the early modern subject
- Mapping King Lear
- ‘Last on the stage’: The place of Shakespeare in Charles Darwin’s ethology
- Sense/memory/sense-memory: Reading narratives of Shakespearian rehearsals
- Shakespeare performances in England (and Wales), 2008
- Professional Shakespeare productions in the British Isles, January–December 2007
- The Year's Contributions to Shakespearian Study 1 Critical Studies
- 2 Shakespeare in performance
- 3a Editions and textual studies
- 3b Editions and textual studies
- Index to Volume 62
Professional Shakespeare productions in the British Isles, January–December 2007
Published online by Cambridge University Press: 28 November 2009
- Frontmatter
- Shakespeare, text and paratext
- The popularity of Shakespeare in print
- The continuing importance of new Bibliographical method
- ‘Honour the real thing’: Shakespeare, Trauma and Titus Andronicus in South Africa
- ‘O, these encounterers’: on Shakespeare’s meetings and partings
- A play of modals: Grammar and potential action in early Shakespeare
- Merry, marry, Mary: Shakespearian wordplay and Twelfth Night
- A subtle point: Sleeves, tents and ‘Ariachne’s broken woof’ (again)
- The look of Othello
- Red button Shakespeare
- ‘Mark you / his absolute shall?’: Multitudinous tongues and contested words in Coriolanus
- Chagall’s Tempest: An autobiographical reading
- Reading illustrated editions: Methodology and the limits of interpretation
- Close encounters with Anne Brontë's Shakespeare
- Shakespeare and the magic lantern
- Shakespeare and the coconuts: close encounters in post-apartheid South Africa
- The Schrödinger effect: Reading and misreading performance
- Behind the scenes
- Inner monologues: Realist acting and/as Shakespearian performance text
- More japanized, casual and transgender shakespeares
- Translation futures: Shakespearians and the foreign text
- After translation
- ‘The single and peculiar life’: Hamlet’s heart and the early modern subject
- Mapping King Lear
- ‘Last on the stage’: The place of Shakespeare in Charles Darwin’s ethology
- Sense/memory/sense-memory: Reading narratives of Shakespearian rehearsals
- Shakespeare performances in England (and Wales), 2008
- Professional Shakespeare productions in the British Isles, January–December 2007
- The Year's Contributions to Shakespearian Study 1 Critical Studies
- 2 Shakespeare in performance
- 3a Editions and textual studies
- 3b Editions and textual studies
- Index to Volume 62
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 resource 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. Novello Theatre, London, 15 January–17 February.
www.rsc.org.uk
Director: Gregory Doran
AS YOU LIKE IT
Sheffield Theatres. Crucible Theatre, Sheffield, 7–24 February; Swan Theatre, Stratford-upon- Avon, 6–10 March.
www.sheffieldtheatres.co.uk
Director: Samuel West
Rosalind: Eve Best
Derby Playhouse Company. Derby Playhouse, 26 May–23 June.
www.derbyplayhouse.co.uk
Director: David Freeman
THE COMEDY OF ERRORS
Royal Shakespeare Company. UK tour 19 October–8 December.
www.rsc.org.uk
Director: Nancy Meckler
Theatre Set-Up. Tour 9 June–27 August.
www.ts-u.co.uk
Ludlow Castle, 25 June–7 July.
Director: Glen Walford
Oddsocks Theatre Company. Tour 1 July–27 August.
www.oddsocks.co.uk
CORIOLANUS
Royal Shakespeare Company. Royal Shakespeare Theatre, Stratford-upon-Avon, 6–31 March.
www.rsc.org.uk
Director: Gregory Doran
Coriolanus: William Houston
Volumnia: Janet Suzman
The last production before the refurbishment of the Royal Shakespeare Theatre.
Ninagawa Company. Barbican, London, 25–29 April.
Director: Yukio Ninagawa
Samurai-themed production in Japanese.
Mercury Theatre Company. Mercury Theatre, Colchester, 22 October–3 November.
www.mercurytheatre.co.uk
Director: Tina Packer
- Type
- Chapter
- Information
- Shakespeare Survey , pp. 386 - 395Publisher: Cambridge University PressPrint publication year: 2009