Book contents
- Frontmatter
- The Power of Magic: From Endimion to The Tempest
- Reading The Tempest
- The Latter End of Prospero’s Commonwealth
- Henry VIII and the Deconstruction of History
- The Politics of Conscience in All is True (or Henry VIII)
- Shakespeare’s Romantic Innocents and the Misappropriation of the Romance Past: The Case of The Two Noble Kinsmen
- The Hand of John Fletcher in Double Falsehood
- ‘The Duke my Father’s Wrack’: The Innocence of the Restoration Tempest
- ‘Remember/First to Possess his Books’: The Appropriation of The Tempest 1700-1800
- The Tempest and After
- Poetry’s Sea-Changes: T. S. Eliot and The Tempest
- The New Function of Language in Shakespeare’s Pericles: Oath versus ‘Holy Word’
- The Discovery of The Rose Theatre: Some Implications
- The Origins of the Roxana and Messallina Illustrations
- Recycling the Early Histories: ‘The Wars of the Roses’ and ‘The Plantagenets’
- Shakespeare Production in England in 1989
- Professional Shakespeare Productions in the British Isles, January-December 1988
- The Year's Contributions to Shakespeare Studies: 1 Critical Studies
- 2 Shakespeare’s Life, Times, and Stage
- 3 Editions and Textual Studies
- Books Received
- Index
Shakespeare Production in England in 1989
Published online by Cambridge University Press: 28 March 2007
- Frontmatter
- The Power of Magic: From Endimion to The Tempest
- Reading The Tempest
- The Latter End of Prospero’s Commonwealth
- Henry VIII and the Deconstruction of History
- The Politics of Conscience in All is True (or Henry VIII)
- Shakespeare’s Romantic Innocents and the Misappropriation of the Romance Past: The Case of The Two Noble Kinsmen
- The Hand of John Fletcher in Double Falsehood
- ‘The Duke my Father’s Wrack’: The Innocence of the Restoration Tempest
- ‘Remember/First to Possess his Books’: The Appropriation of The Tempest 1700-1800
- The Tempest and After
- Poetry’s Sea-Changes: T. S. Eliot and The Tempest
- The New Function of Language in Shakespeare’s Pericles: Oath versus ‘Holy Word’
- The Discovery of The Rose Theatre: Some Implications
- The Origins of the Roxana and Messallina Illustrations
- Recycling the Early Histories: ‘The Wars of the Roses’ and ‘The Plantagenets’
- Shakespeare Production in England in 1989
- Professional Shakespeare Productions in the British Isles, January-December 1988
- The Year's Contributions to Shakespeare Studies: 1 Critical Studies
- 2 Shakespeare’s Life, Times, and Stage
- 3 Editions and Textual Studies
- Books Received
- Index
Summary
Since the demise of the Old Vic Company in 1963, Shakespeare production in England has been dominated by the work of the Royal Shakespeare Company operating mainly in Stratford-upon-Avon and London but also taking full seasons to Newcastle-upon-Tyne and touring the provinces. Other companies have come and gone - the Actors' Company (1972-83), Prospect Theatre Company (1961-79) - and the National Theatre has put on a number of productions, starting with John Dexter's Othello with Laurence Olivier (1964); but for two decades Shakespeare virtually disappeared from the West End and from the commercial theatre in general.
West End productions depend for their drawing power largely on the appeal of popular actors in leading roles. A result of the dwindling of such productions has been the increasing dominance of the director. Whereas Gielgud directed a Shakespeare production at Stratford during the 1950s when another actor, Anthony Quayle, was joint Artistic Director, since Peter Hall took over in i960 no leading actor or actress has directed a major production there. Another result has been an increasingly intellectual approach.
- Type
- Chapter
- Information
- Shakespeare Survey , pp. 183 - 204Publisher: Cambridge University PressPrint publication year: 1991