STUDIO SHAKESPEARE the ROYAL SHAKESPEARE COMPANY at the OTHER PLACE for Those Who Have Gone Before

STUDIO SHAKESPEARE THE ROYAL SHAKESPEARE COMPANY AT THE OTHER PLACE For those who have gone before:

Mary Ann ‘Buzz’ Goodbody Mrs Marcelle Goodbody Dr Georgia L. Smith Sarah Evelyn Smith Johnson Jennifer Antee Howard Studio Shakespeare The Royal Shakespeare Company at The Other Place

ALYCIA SMITH-HOWARD New York University

Routledge RTaylor & Francis Group LONDON AND NEW YORK First published 2006 by Ashgate Publishing Published 2016 by Routledge 2 Park Square, Milton Park, Abingdon, Oxon OX14 4RN 711 Third Avenue, New York, NY 10017, USA Routledge is an imprint of the Taylor & Francis Group, an informa business

Alycia Smith-Howard has asserted her moral right under the Copyright, Designs and Patents Act, 1988, to be identified as the author of this work.

All rights reserved. No part of this book may be reprinted or reproduced or utilised in any form or by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying and recording, or in any information storage or retrieval system, without permission in writing from the publishers.

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British Library Cataloguing in Publication Data

Smith-Howard, Alycia Studio Shakespeare: the Royal Shakespeare Company at The Other Place 1. Shakespeare, William, 1564–1616 – Stage history – 1950– 2. Shakespeare, William, 1564–1616 – Stage history – England – Stratford-upon-Avon 3. Goodbody, Mary Ann 4. Royal Shakespeare Company – History 5. Other Place 6. Studio theatre – England – Stratford-upon-Avon – History – 20th century I. Title 792'.0942489

Library of Congress Cataloging-in-Publication Data

Smith-Howard, Alycia. Studio Shakespeare: the Royal Shakespeare Company at the Other Place / Alycia Smith- Howard. p. cm. Includes bibliographical references. ISBN 0-7546-0786-0 (alk. paper) 1. Other Place (Stratford-upon-Avon, England) 2. Shakespeare, William, 1564–1616 – Stage history – England – Stratford-upon-Avon. 3. Royal Shakespeare Company. I. Title.

PN2596.S82O84 2006 792.09424'89–dc22 2005031647

ISBN 13: 978-0-7546-0786-1 (hbk) Contents

List of Plates vii Acknowledgments ix

Introduction 1

1 New Beginnings and Methods of Change 5

2 King Lear and the Commitment to Education 35

3 Late Plays and ‘Neglected Classics’ 51

4 Claustrophobic Tragedy and ‘Close-up’ Comedy 69

5 Approaches to History 115

Conclusion 127

Bibliography 141

Cast Lists of Productions Discussed in the Text 157

Index 167

v This page intentionally left blank Plates

Between pages 68 and 69.

1 The Other Place (1978). Photographer not known 2 Mary Ann ‘Buzz’ Goodbody (1947–75). Photographer not known 3 Buzz Goodbody and her brother John (1949). Photographer not known 4 Buzz Goodbody and her brother John (1953). Photographer not known 5 Patrick Stewart (King John) and Norman Rodway (The Bastard) in Buzz Goodbody’s King John (1970) 6 Eileen Atkins (Rosalind) in Buzz Goodbody’s As You Like It (1973) 7 Buzz Goodbody, with Richard Pasco, in rehearsal for As You Like It (1973). Photograph by Zoe Dominic 8 Tony Church (Lear) and Mike Gwilyn (Edgar/Poor Tom) in Buzz Goodbody’s King Lear (1974) 9 Emily Richard (Thaïsa), Peter McEnery (Pericles) and Hubert Rees (Simonides) in Ron Daniels’ Pericles (1979) 10 Harriet Walter (Imogen) in Bill Alexander’s Cymbeline (1987) 11 Richard Pasco (Timon) in Ron Daniels’ Timon of Athens (1980) 12 Mikel Lambert (Gertrude) and Ben Kingsley (Hamlet) in Buzz Goodbody’s Hamlet (1975) 13 Ian McKellen (Macbeth) and Judi Dench (Lady Macbeth) in Trevor Nunn’s Macbeth (1976) 14 Imogen Stubbs (Desdemona) and Willard White (Othello) in Trevor Nunn’s Othello (1989) 15 David Troughton (Clown) and Helen Mirren (Cleopatra) in Adrian Noble’s Antony and Cleopatra (1982) 16 Patrick Stewart (Shylock) in John Barton’s The Merchant of Venice (1978) 17 Brenda Bruce (Queen Margaret) and Ian Richardson (King Richard) in Barry Kyle’s Richard III (1975) 18 Nicholas Woodeson (King John) in Deborah Warner’s King John (1988)

Except where indicated otherwise, all the photographs are by Joe Cocks Studio, Stratford-upon-Avon, and © The Shakespeare Birthplace Trust.

vii This page intentionally left blank Acknowledgments

This book was made possible by the generous, enthusiastic and long-term support of the following individuals to whom I express my deepest thanks and fond appreciation: Cicely Berry OBE, Russell B. Jackson, the late Mrs Marcelle Goodbody, John Goodbody, Helen M. Whall, Dorothy H. Schnare, Erika Gaffney (my tirelessly supportive editor at Ashgate) and Elizabeth Frost-Knappman (my literary agent). I am deeply grateful to each of you for your faith and constancy. Sincere and special thanks are due to the various members and associates of the Royal Shakespeare Company who generously shared their memories of the past with me: Bronwyn Robertson, Tony Church, Mikel Lambert, Sheila Allen, Ben Kingsley, Sarah Kestelman, Richard Pasco, Jeffrey Dench, Colin Chambers, Patrick Stewart, John Barton, Desmond Barrit, Bill Alexander, Ron Daniels, David Edgar, Tom Stoppard, Katie Mitchell, Roger Hyams, Sue Dunderdale, Simon Russell Beale, Annette Fletcher, Karen Keane, Sally Dexter, David (Dino) Howells, Pam Gems and Pat Friday. At the Shakespeare Birthplace Trust, Shakespeare Centre Library: Robert Smallwood, Susan L. Brock, Marian J. Pringle, Sylvia Morris, James Shaw, Jo Hart, Helen Hargest and the late Mary White – my thanks to each of you for your tireless support and assistance over the years and for being truly the best Library in the world. At the Shakespeare Institute: Stanley Wells, Peter Holland and Robert Shaughnessy. At Mount Holyoke College, my thanks in particular to: Donal O’Shea, Sally Sutherland, John Lemly, Vanessa James and Barbara Bunyan. Thank you for providing me with a wonderful haven in which to complete this work. Special thanks to my students in THR 309: Acting Shakespeare II, who inspired me daily, and allowed me to place my theories into practice. At New York University – The Gallatin School of Individualized Study: Dean e. Frances White (thank you for always keeping me focused), Ali Mirsepassi, Laurin Raiken, Michael Dinwiddie, Julie Malnig, Pat Sileo, Cyd Fulton, Nydia Ferguson, Sarah Cook and Nick Lycos. This volume would not have been possible without the financial support provided through research grants from the following institutions: Shakespeare Birthplace Trust Jubilee Fund, Mount Holyoke College Faculty Research Grants, The Gallatin Arts Council and The Stephen Golden Faculty Enrichment Fund. I reserve very special thanks for the endless support and understanding of my ‘supporting cast,’ my family and friends. Finally, my eternal gratitude to Greta D. Heintzelman, who was ever confident and true throughout this endeavour.

ix This page intentionally left blank Yes, of course our theatre is moribund – like our cinema. But only two courses are honourable: shut up – or do something. Lindsay Anderson, 1957

Polonius. The actors are come hither, my lord. Hamlet. Buzz, buzz. This page intentionally left blank Introduction

The fundamental mission of Great Britain’s Royal Shakespeare Company (RSC) is to ‘conserve, advance and disseminate the dramatic heritage of Shakespeare,’1 and in effect to ‘speak authoritatively through, for and on behalf of Shakespeare.’2 A major milestone in the Royal Shakespeare Company’s pioneering mission was the formation of The Other Place, the Company’s second auditorium and studio venue in Stratford-upon-Avon. The Other Place opened its doors in 1974 and was closed and demolished in 1989. This venue was the site of some of the Company’s most adventurous, experimental and controversial work on the Shakespeare canon. The Other Place was the brainchild of the Company’s then youngest and only female director, Mary Ann ‘Buzz’ Goodbody (1947–75). For her, The Other Place was a utopian vision. Like many of her colleagues working in British theatre during the 1970s, Goodbody dreamt of creating democratic, accessible and popular theatre for the masses. However, her focus differed from her counterparts on the fringe, many of whom viewed classical theatre, and Shakespeare in particular, as the epitome of cultural elitism. Goodbody adamantly disagreed with this view:

Shakespeare’s own theatre was a popular art form. Its strength and its richness derived from the social range of its audience as much as from the participants themselves. No one wants to reproduce the conditions of 1599 even if it were possible, but the challenge of closing the gap between the serious theatre and the bulk of society has to be faced, and for the Royal Shakespeare Company its smaller theatre in Stratford-upon-Avon is a start.3

With this premise Goodbody created a theatre committed to minimalist and hard- hitting classical productions that challenged current trends in the staging of Shakespeare’s plays. For Goodbody the collaborative process of theatre-making was just as paramount as the final product. As a result, The Other Place was a stimulating, dynamic and creative working environment, and one which provided actors and directors with a release from the pressures of commercial success and sure-fire hits within the Royal Shakespeare Company’s structure. This environment functioned as a crucible for the exploration of new and exciting methods of production. Ron Daniels remembered: ‘There was a whole new generation of directors and actors, and The Other Place gave us a real pioneering feel, we were part of something bold, brave and new. It all happened at such a crucial time, the right time, in our development.’4 For audiences, particularly students and young people, The Other Place ensured an opportunity to experience classical works in fresh and non-threatening surroundings. Goodbody repeatedly expressed her commitment to create a theatre

1 2 Studio Shakespeare that was welcoming and accessible to the young – not in an effort to groom them for ‘real’ theatre at some later stage in their lives but rather, as a special audience with their own particular needs: ‘Many young people admit to being “turned off” Shakespeare by reading it in the classroom. What we hope to do is “turn them on” to Shakespeare at that vital time in their lives.’5 The essence of The Other Place was that it lacked pretence (see Plate 1). It was an intimate space that rejected gimmickry or spectacle and required a production style that was simple, rough and uncluttered. At the centre of this lay the production ethic fostered by Goodbody that favoured a personal and more socialized approach to the production of classical texts over a more generalized and abstracted treatment. For Goodbody, the art of theatre was a political act. In her work on Shakespeare she advocated a socio-realist philosophy focusing on the familial and personal issues within the texts. She also promoted a communal view of theatre in which ‘performance’ gave way to ‘participation’ – the ensemble of players and spectators forming a community of shared experience. The creation and development of The Other Place, and Goodbody’s influence on the RSC particularly and classical theatrical production generally are her lasting legacies. For many, Goodbody and The Other Place are inseparable topics; one can hardly be mentioned without the other. Neither she nor her contributions to the theatre should be forgotten. In its 15-year life-span The Other Place, a venue affectionately known as ‘the most productive tin hut in theatre history,’6 was the site of some of the most formidable and exciting new writing and classical work produced by the RSC during this period. Among these were new works from such writers as Edward Bond, David Edgar, Trevor Griffiths, Vaclav Havel, Doug Lucie, Louise Page, David Rudkin and Timberlake Wertenbaker. The most noted of these new works were: Pam Gem’s Piaf (1978), Nick Dear’s The Art of Success (1986) and Christopher Hampton’s Les Liaisons Dangereuses (1985). However, the works of Shakespeare always remained The Other Place’s central focus. Goodbody found Shakespeare to be a far more political playwright than any modern or contemporary dramatist. Working on his plays was, for her, a more rewarding and politically fulfilling experience than producing what she called, the ‘dry and arid’ works of such modern masters as Beckett and Pinter, for whom Goodbody held only a ‘sort of bemused respect.’7 There were 13 Shakespeare productions at The Other Place during the period of 1974–89: King Lear (dir. Buzz Goodbody, 1974), The Tempest (dir. Keith Hack, 1974), Hamlet (dir. Buzz Goodbody, 1975), Richard III (dir. Barry Kyle, 1975), Macbeth (dir. Trevor Nunn, 1976), The Merchant of Venice (dir. John Barton, 1978), Pericles (dir. Ron Daniels, 1979), Timon of Athens (dir. Ron Daniels, 1980), Antony and Cleopatra (dir. Adrian Noble, 1982), Cymbeline (dir. Bill Alexander, 1987), King John (dir. Deborah Warner, 1988), King Lear (dir. Cicely Berry, 1988) and Othello (dir. Trevor Nunn, 1989). There appears to be a disproportionate number of tragedies in this list, and it is worth noting that no predetermined policy regarding the Shakespearean repertoire at The Other Place was established. Production decisions were left to each individual director. The large number of Introduction 3 tragedies seems entirely coincidental. Each production herein has been assessed on the basis of criteria developed from the objectives and ideals set forth by Buzz Goodbody in her mission statement for The Other Place (dated 15 December 1973) and also from her other writings and personal notes. Unlike films, which can be rewound and reassessed time and time again, theatre is a transitory art. Stage productions only live on through memory and summary. Therefore it is within this realm of fragments and clues that the performance historian must dwell: piecing together traces of a production with the aid of promptbooks, Stage Managers’ scripts, directors’ notes, musical scores, programmes, videotapes, audience surveys, interviews, letters, and critical and scholarly reviews. As theatre is also a communicative and communal art the comments, views, reactions and opinions of those who actually took part in the creative process are indispensable. For example, in Chapter 2, ‘King Lear and the Commitment to Education’ and Chapter 4, ‘Claustrophobic Tragedy and “Close- up” Comedy,’ Sheila Allen, George Baker, Pat Friday, Ben Kingsley and Mikel Lambert speak at length about their respective experiences of working with Buzz Goodbody on her productions of King Lear (1974) and Hamlet (1975). Their fascinating and provocative details provide vital and profound information on Goodbody’s education policies, directorial methods and rehearsal techniques. Grouping the plays in terms of genre has proved a far more fruitful method of collation than surveying them chronologically. The volume is therefore divided into five discrete but equal parts. Chapter 1, ‘New Beginnings and Methods of Change,’ briefly outlines the history of experiment and development within theatre in a broad sense and within the RSC in more specific detail from the so-called ‘overnight revolution’ of 1956 to the early 1970s. This chapter covers the transformation of The Shakespeare Memorial Theatre into The Royal Shakespeare Company in 1962 under the direction of Peter Hall and his co-directors Michel Saint-Denis and Peter Brook. Intensive experimentation and cross-fertilization of classical theatre with the avant-garde and other new writing flourished at the RSC during this period and was continued by the next generation with Trevor Nunn, Buzz Goodbody and others. There is particular emphasis in Chapter 1 on Goodbody’s life and early work. A full outline of her mission statement, ‘Studio/2nd Auditorium Stratford 1974,’ is given at the end of this chapter. Chapter 2, ‘King Lear and the Commitment to Education,’ details the first season at The Other Place and describes in detail Goodbody’s commitment to and involvement within the local academic community including her work on King Lear. This chapter also contains a discussion of Cicely Berry’s innovative production of King Lear, an entirely different though equally thought-provoking educational project using the same text. Next, Chapter 3, ‘Late Plays and “Neglected Classics,”’ summarizes the production work on the three so-called Late Plays or Romances, as well as Timon of Athens. Chapter 4, ‘Claustrophobic Tragedy and “Close-up” Comedy,’ then offers an examination of the treatment given to the four tragedies and The Other Place’s only Shakespeare comedy, The Merchant of Venice. This chapter also considers the relationship of theatrical space and dramatic genre that prompted the 4 Studio Shakespeare conclusion that success with Shakespeare at The Other Place was determined by the director’s production method and approach, rather than textual genre. This concept is explored further in Chapter 5, ‘Approaches to History,’ which contrasts the directorial methods of Barry Kyle and Deborah Warner in their treatment of The Other Place’s two Shakespearean history plays, Richard III and King John. Each chapter records the past, a brief, shining moment in the long history of the Royal Shakespeare Company – one of theatre history’s brightest stars. In doing so I have attempted to trace and record a history of the practical and theoretical ideology of The Other Place, as well as of its first artistic director and her commitment to Shakespeare. The astronomer James Gunn once noted that, when gazing at the heavens, observers tend to enthusiastically, though knowledgeably, over-interpret their observations. The over-interpretation to which Gunn refers is surely a direct result of over-appreciation. Of this fault I wilfully acknowledge guilt. However, in my appreciation and admiration of the life, commitment and achievement of Mary Ann ‘Buzz’ Goodbody and the dynamic theatre she created, I am not alone. For there are indeed many for whom The Other Place represented and was in fact, ‘utopia … real and actual everyday.’8

Notes

1 ‘Theatre is for all’ – Report of the Cork Enquiry into the state of British theatre. Commissioned by the Arts Council of Great Britain (London, 1986). p. 15. 2 Shaughnessy, Robert. Representing Shakespeare: England, History and the Royal Shakespeare Company. (Hemel Hempstead, UK, 1994). p. 3. 3 Goodbody, Buzz. ‘The Other Place,’ Royal Shakespeare Company Membership Magazine [no volume number or dates], in Goodbody family scrapbook. 4 Ron Daniels, interview with author, 20 July 1995. 5 Goodbody, ‘The Other Place.’ 6 Edgar, David. ‘Seeking Ourselves in The Other Place,’ Royal Shakespeare Company Magazine, no. 2, Autumn 1990. p. 18. 7 Stott, Catherine. ‘Woman director: Buzz Goodbody talks to Catherine Stott,’ The Guardian. 27 October 1971. 8 Edgar, pp. 20–21. Bibliography

Unpublished Works

Alexander, Bill. Correspondence with author. 15 May 1995. Allen, Sheila. Interview with author. 18 October 1993. Barrit, Desmond. Correspondence with author. 20 March 1995. Bauer, Sabine C. ‘“Speak of me as I am”: British Politics of Race and Portrayals of Othello in Criticism and on Stage, 1603–1993.’ (unpublished Ph.D. thesis) University of Birmingham, The Shakespeare Institute, 1994. Bennell, Lucy. ‘Buzz Goodbody: A Lasting Influence on the Royal Shakespeare Company?’ (unpublished M.A. diss.) University of Lancaster, 1987. Berry, Cicely. Interview with author. 28 August 1991. Berry, Cicely. Interview with author. 15 June 1993. Berry, Cicely. Interview with author. 27 February 1995. Berry, Cicely. Interview with author. 26 March 1996. Brown, Lisa K. ‘“Fly toward Belmont”: Comic structure and racial politics in three productions of The Merchant of Venice.’ (unpublished M.A. diss.) University of Birmingham, The Shakespeare Institute, 1987. Chambers, Colin. Correspondence with author. 4 September 1991. Church, Tony. Correspondence with author. 28 February 1995. Cikigil, Fatmenecla (Mrs.). ‘Shakespeare and company production: A young innovator – Deborah Warner.’ (unpublished paper) Middle East Technical University, Ankara, Turkey, 1991. Daniels, Ron. Correspondence with author. 9 March 1995. Daniels, Ron. Correspondence with author. 14 June 1995. Daniels, Ron. Interview with author. 20 July 1995. Dench, Jeffery. Correspondence with author. 9 November 1993. Edgar, David. Correspondence with author. 25 March 1995. Friday, Pat. Interview with author, 22 March 1993. Goodbody family scrapbook, and various notebook and journal entries belonging to Mary Ann ‘Buzz’ Goodbody. Goodbody, Marcelle (Mrs.). Correspondence with author. 9 June 1995. Goodbody, Marcelle (Mrs.). Correspondence with author. 20 June 1995. Goodbody, Marcelle (Mrs.). Correspondence with author. 14 August 1995. Goodbody, Marcelle (Mrs.). Correspondence with author. 26 November 1995. Goodbody, Marcelle (Mrs.). Interview with author. 16 June 1995. Goodbody, Marcelle (Mrs). Interview with author. 1 December 1995. Greenhill, Wendy. Interview with author. 14 December 1991. Hill, Tony. Correspondence with author. 5 September 1991

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Hyam, Roger. Interview with author. 19 October 1991. Kestelman, Sara. Interview with author. 10 October 1993. Kingsley, Ben. Interview with author. 17 October 1993. Lambert, Mikel. Correspondence with author. 1 March 1995. Lambert, Mikel. Correspondence with author. 19 September 1995. Mitchell, Katie. Interview with author. 25 September 1991. Morris, Sylvia. Conversation with author. 15 June 1995. Pasco, Richard. Correspondence with author. 11 June 1995. Pearson, Richard. ‘The First Part of a Research into the Local Audience of the Royal Shakespeare Theatre: Perceptions and Opinions.’ unpublished audience surveys, Stratford-upon-Avon, 1984. The Shakespeare Centre Library, S.3608. Pearson, Richard. ‘The Other Place: Overview of a quantitative research, November 1984–January 1985,’ unpublished audience survey results, Stratford- upon-Avon, 1985. The Shakespeare Centre Library, S.3607. Rutter, Barrie. Correspondence with author. 24 October 1993. Theatre Records Catalogue. vol. 82, December 1971. The Shakespeare Centre Library, S.2535.

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Evans, Gareth Lloyd. ‘Much to admire – despite narrow confines,’ The Stratford- upon-Avon Herald. 29 October 1982. Evans, Gareth Lloyd. ‘The Royal Shakespeare Company’s King Lear and Macbeth,’ Shakespeare Quarterly, vol. 28, no. 2, Spring 1977. pp. 190–195. Everitt, A. ‘A Director’s Place,’ The Birmingham Post. 9 June 1973. ‘The eye of the storm,’ The Independent. 20 September 1989. Fitzgerald, Ann. ‘Patience pays off for Ms Obscure,’ The Stage. 19 May 1988. Flourish, Royal Shakespeare Company newsletter, no. 2, Spring 1964. [no page numbers given]. Fraser, Russell, ed. King Lear, The Signet Classic Shakespeare. New York: Signet Classics, 1963. Garner, Lesley. ‘Queen Buzz the First,’ The Sunday Times. 22 March 1970. Gaskill, William. A Sense of Direction: Life at the Royal Court. London: Methuen, 1988. Gems, Pam. Dusa, Fish, Stas and Vi. London: Samuel French, 1977. George, Mathew. ‘Gutsy: That’s “King John” Royal Shakespeare Company-style.’ The Leamington Spa Courier. 3 May 1988. Gibson, Joy Leslie. Ian McKellen: A Biography. London: Weidenfeld & Nicholson, 1986. Gibson, Rex. ‘Cold love.’ The Times Educational Supplement. 11 September 1991. Gilbert, Miriam. ‘Teaching Shakespeare Through Performance,’ Shakespeare Quarterly, vol. 35, 1984. pp. 601–620. Goodbody, Buzz (Mary Ann). ‘The Other Place,’ Royal Shakespeare Company Membership Magazine [no volume number or dates given], in Goodbody family scrapbook. Goodman, Ellen, comp. ‘Macbeth by Shakespeare: The Royal Shakespeare Company in collaboration with Thames Television Broadsheet.’ 1979. The Shakespeare Centre Library, S.3021. Goodwin, John, ed. Royal Shakespeare Company 1960–63. London: Methuen, 1964. Granville-Barker, Harley. Prefaces to Shakespeare. Princeton: Princeton University Press, 1946. Green, James. ‘Helen slams top theatre companies,’ The Evening News. 13 November 1974. Greenwald, Michael Lester. Directions by Indirections. Dover: University of Delaware Press, 1985. Grimley, Terry. ‘Basic – but by design,’ The Birmingham Post. 6 August 1991. Grimley, Terry. ‘Light that shines in the darkness,’ The Birmingham Post. 6 August 1991. Gross, John. ‘A Desdemona who can bring an audience to tears,’ The Sunday Telegraph. 27 August 1989. Gross, John. ‘The Shakespeare play that lets you down at the end,’ The Sunday Telegraph. 16 July 1989. Guthrie, Tyrone. A Life in the Theatre. London: H. Hamilton, 1959. Bibliography 147

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Mars-Jones, Adam. ‘Web of Magic,’ The Independent. 26 August 1989. Mason, Phillip. Prospero’s Magic: Some Thoughts on Race and Colour. London: Oxford University Press, 1962. Metscher, Thomas. ‘Shakespeare Spätstücke, als episches theatre betrachtet,’ Shakespeare Jahrbuch, vol. 115, 1979. pp. 35–50. Miller, Carl. Review of King John, City Limits. 11 May 1989. Miller, Johnathan. Subsequent Performances. New York: E. Sifton Books, 1986. Mirren, Helen Lydia. ‘Stage set for an empty pageant?’ Letter to the editor, The Guardian, 17 November 1974. Mitchell, Katie. ‘The Storm,’ in The King Lear Project, (comp.) RSC Education Department. Stratford-upon-Avon: Royal Shakespeare Company, 1988. Morley, Sheridan. ‘The London Stage,’ The International Herald Tribune. 10 May 1989. Morley, Sheridan. ‘The Quick and the Dead,’ Punch. 28 September 1977. Mullin, Michael. ‘Stage and Screen: The Trevor Nunn Macbeth,’ Shakespeare Quarterly, 38, 1987. pp. 350–359. Mulryne, J.R., ‘“To Glad Your Ear and Please Your Eyes”: Pericles at The Other Place,’ Critical Quarterly, 21, no. 4, 1979. pp. 31–35. Mulryne, Ronnie and Margaret Shrewing, eds. Making Space for Theatre: British Architecture and Theatre since 1958. Stratford-upon-Avon: Mulryne and Shrewing, 1995. Mulryne, Ronnie and Margaret Shrewing, eds. This Golden Round: The Royal Shakespeare Company at The Swan. Stratford-upon-Avon: A.H. Jolly (Editorial) Ltd, 1989. Neill, Michael, ed. The Tragedy of Antony and Cleopatra, The Oxford Shakespeare. Oxford: Oxford University Press, 1994. N.K.W. ‘Place of Magic,’ Coventry Evening Telegraph. 23 October 1974. Nightingale, Benedict. ‘King John Rag,’ The New Statesman. 19 June 1970. Norman, Barry. ‘I’m Buzz said the Bird,’ The Daily Mail. 14 December 1970. Norris, F. ‘Stratford gets its studio,’ The Birmingham Evening Mail. 28 June 1973. Nosworthy, J.M., ed. Cymbeline, The Arden Shakespeare. London: The Arden Shakespeare, 1994. Novy, Marianne, ed. Cross-Cultural Performances. Urbana: University of Illinois Press, 1993. Nunn, Trevor. ‘Buzz Goodbody,’ in Royal Shakespeare Theatre Annual Report of the Council, no. 100. 1975–1976. (comp.) E.R. Bosley. The Shakespeare Centre Library, S.1922. [no page numbers]. Nunn, Trevor. Interview, The Sunday Telegraph. 4 February 1968. Nyberg, Lennart. The Shakespearean Ideal: Shakespeare Production and the Modern Theatre in Britain. Uppsala: Acta Universitatis Upsaliensis, 1988. O’Brien, Ellen J. ‘Inside Shakespeare: Using Performance techniques to Achieve Traditional Goals,’ Shakespeare Quarterly, vol. 35, 1984. pp. 621–631. O’Connor, Gary. ‘Richard III.’ The Financial Times. 9 October 1975. Oliver, H.J., ed. Timon of Athens, The Arden Shakespeare. London: The Arden Shakespeare, 1993. Bibliography 151

Owen, Michael. ‘Trevor’s back.’ The Evening Standard. 21 July 1989. Parsons, Gordon. Review of As You Like It, Morning Star. 14 June 1973 Parsons, Keith and Pamela Mason, eds. Shakespeare in Performance. London: Salamander Books, 1995. Pearman, Hugh. ‘The play not the place is the thing,’ The Sunday Times. 14 July 1991. Peter, John. ‘How to give a blind Moor new vision,’ The Sunday Times. 27 August 1989. Peter, John. ‘The RSC’s new place to flex its muscles,’ The Sunday Times. 9 September 1991. Peter, John. Review of King Lear, The Sunday Times. 21 July 1974. Peter, John. Review of The Tempest, The Sunday Times. 3 November 1974. Peter, John. Review of Timon of Athens. The Sunday Times. 18 May 1980. Pierce, Robert. Shakespeare’s History Plays: The Family and the State. Athens, Ohio: Ohio State University Press, 1971. Poel, William. Shakespeare in the Theatre. London: Sidgwick & Jackson, 1913. Pratt, Desmond. ‘Theatres,’ The Yorkshire Post. 11 September 1980. Pratt, Desmond. ‘Theatres,’ The Yorkshire Post. 15 October 1982. Quiller-Couch, Arthur. Notes on Shakespeare’s Workmanship. New York: Oxford University Press, 1917. Radin, Victoria. ‘Sex-kitten shows her claws,’ The Observer. 17 October 1982. Ratcliffe, Michael. ‘Disgust of the blue eyed monster,’ The Observer. 27 August 1989. Renton, Alex. ‘Honest conversation,’ The Independent. 17 August 1989. Review of As You Like It, Nottingham Guardian Journal. 14 June 1973. Review of King John, The Sunday Times. 25 January 1970. Richards, Sandra. The Rise of the English Actress. London: Palgrave Macmillan, 1993. Richmond, Hugh M. Shakespeare in Performance: King Richard III. Manchester: Manchester University Press, 1989. Roberts, Peter. ‘Actor as Storyteller,’ Plays International. vol. 1, no. 2, September 1985. pp. 10–12. Rosenberg, Marvin. ‘Trevor Nunn’s “Macbeth”,’ Shakespeare Quarterly, vol. 28, 1977. pp. 195–196. ‘Royal Shakespeare Company at the Place,’ The Stage. 21 December 1971. Saint-Denis, Michel. Theatre – The Rediscovery of Style. New York: Theatre Arts Books, 1960. Saint-Denis, Michel. Training for the Theatre: Premises and Promises. New York: Theatre Arts Books, 1982. Salagado, Gamini and Fenella. Penguin Critical Studies: Othello. London: Penguin, 1985. Sanders, Norman, ed. Othello, The New Cambridge Shakespeare. Cambridge: Cambridge University Press, 1984. Sanders, Norman. Programme note. Othello. video recording, dir. Trevor Nunn, The Royal Shakespeare Company and Primetime Television Limited. 1990. 152 Studio Shakespeare

Schafer, Elizabeth. Ms-Directing Shakespeare. Women Direct Shakespeare. New York: St Martin’s Press, 2000. Schoenbaum, Samuel. ‘Alternative Shakespeare,’ The Times Literary Supplement. 27 October 1978. Schmidt, Michael. ‘Crashing Cymbeline,’ The Daily Telegraph. 13 July 1989. Seaton, R. ‘Pacemaker buzz sets style.’ No source given. Found in Theatre Records, vol. 86, 13–16 June 1973. The Shakespeare Centre Library, S.2539. Shank, Theodore. American Alternative Theatre. New York: Grove Press, 1982. Shank, Theodore, ed. Contemporary British Theatre. London: St. Martin‘s Press, 1994. Shaughnessy, Robert. Representing Shakespeare: England, History and the Royal Shakespeare Company. Hemel Hempstead, UK: Harvester Wheatsheaf, 1994. ‘Shelia: my mistakes,’ The Evening Standard. 25 October 1974. Shorter, Eric. ‘Boiled Down “Lear” is a real tragedy,’ The Daily Telegraph. 24 October 1974. Shorter, Eric. ‘Never better acting from Stratford,’ The Daily Telegraph. 15 May 1978. Shorter, Eric. ‘Richard III Amid Disease,’ The Daily Telegraph. 9 October 1975. Shrimpton, Nicholas. ‘Shakespeare Performances in Stratford-upon-Avon and London, 1982–3,’ Shakespeare Survey, vol. 37, 1984. pp. 163–173. Shulman, Milton. Review of As You Like It. Evening Standard. 13 June 1973. Smallwood, Robert. ‘Shakespeare on Stage,’ Shakespeare Quarterly. vol. 41, 1990. pp. 111–113. Smallwood, Robert. ‘Shakespeare at Stratford-upon-Avon, 1988,’ Shakespeare Quarterly, vol. 40, 1989. pp. 83–96. Smith, Rebecca. ‘A Heart Cleft in Twain: The Dilemma of Shakespeare’s Gertrude,’ in The Woman’s Part: Feminist Criticism of Shakespeare. Eds. Carolyn Ruth Swift Lenz, Gayle Greene and Carol Thomas Neely. Chicago: University of Illinois, 1983. pp. 194–210. Speaight, Robert. ‘Macbeth,’ Shakespeare Quarterly, vol. 27, 1976. pp. 16–17. Speaight, Robert. Shakespeare on Stage. London: Collins, 1973. Spencer, Charles. ‘Freudian analysis,’ The Daily Telegraph. 20 September 1991. Spurling, Hilary. ‘’Ercle’s Vein,’ The Spectator, vol. 224, no. 7408, 20 June 1970. Stott, Catherine. ‘Woman director: Buzz Goodbody talks to Catherine Stott,’ The Guardian. 27 October 1971. Styan, J.L. ‘Direct Method Shakespeare,’ Shakespeare Quarterly, vol. 25, 1974. pp. 198–207. Styan, J.L. Shakespeare’s Stagecraft. Cambridge: Cambridge University Press, 1967. Tardiff, Joseph, ed. Shakespearean Criticism, vol. 21. Detroit: University of Michigan Press, 1993. Tardiff, Joseph C., ed. Shakespearean Criticism, vol. 24. Detroit: University of Michigan Press, 1994. Taylor, John Russell. Anger and After. London: Methuen, 1962. Taylor, Paul. ‘Snakes’n’ladders,’ The Independent. 12 May 1988. Bibliography 153

Teirney, Margaret. ‘Direction and Design: Trevor Nunn and Christopher Morley,’ Plays and Players, September 1972. pp. 24–27. ‘Theatre is for all’– Report of the Cork Enquiry into the state of British theatre. Commissioned by the Arts Council of Great Britain. London, September 1986. Thompson, Marvin and Ruth, eds. Shakespeare and the Sense of Performance. Dover, Delaware: University of Delaware Press, 1989. Thomson, Peter. ‘Towards a Poor Shakespeare: The Royal Shakespeare Company at Stratford in 1975,’ Shakespeare Survey, vol. 29, 1976. pp. 151–153. Tinker, Jack. ‘Catching the soul of the eternal outsider,’ The Daily Mail. 26 August 1989. Todd, (Lily) Sue, ed. Women and Theatre: Calling the Shots. London: Faber & Faber, 1984. Trewin, J.C. ‘Cymbeline,’ The Birmingham Post. 13 July 1989. Trewin, J.C. ‘Reviews,’ The Lady. 25 July 1989. Trussler, Simon, ed. Royal Shakespeare Company 1980/81. Stratford-upon-Avon: Advent Books, 1982. Tynan, Kathleen. The Life of Kenneth Tynan. London: W. Morrow, 1987. Vaughan, Alden T. and Virginia Mason Vaughan. Shakespeare’s Caliban: A Cultural History. Cambridge: Cambridge University Press, 1991. Walter, Harriet. ‘Imogen in Cymbeline,’ in Players of Shakespeare 3. Eds. Russell Jackson and Robert Smallwood. Cambridge: Cambridge University Press, 1993. Wandor, Michelene. Drama Today: A Critical Guide to British Drama 1970–1990. London: Longman, 1993. Wandor, Michelene. Understudies: Theatre and Sexual Politics. London: Routledge, 1981. Wardle, Irving. ‘Bleakness beyond the fun,’ The Times. 3 May 1989. Wardle, Irving. ‘Hamlet,’ The Times. 17 May 1975. Wardle, Irving. ‘Macbeth,’ The Times, 14 September 1977. Warren, Roger. ‘A Year of Comedies: Stratford 1978,’ Shakespeare Survey, vol. 32, 1979. pp. 204–208. Warren, Roger. Staging Shakespeare’s Late Plays. Oxford: Oxford University Press, 1990. Warren, Roger. ‘Theory and Practice: Stratford 1976,’ Shakespeare Survey, vol. 30, 1977. pp. 169–180. Wearing, Catherine. ‘Shakespeare meets Noggin the Nog,’ What’s On. 19 July 1989. Wells, Stanley. ‘Emotional overload,’ Times Literary Supplement. 14 May 1988. Wells, Stanley. ‘Shakespeare Production in England in 1989,’ Shakespeare Survey. vol. 43, 1991. pp. 191–204. Wells, Stanley. ‘Simplicity and spontaneity,’ Times Literary Supplement. 29 October 1982. Werner, Sarah. Shakespeare and Feminist Performance: Ideology on Stage. London: Routledge, 2001. Wilkins, George. The Painful Adventures of Pericles, Prince of Tyre. Ed. Kenneth Muir. Liverpool: University of Liverpool, 1953. 154 Studio Shakespeare

Williams, David. Peter Brook: A Theatrical Casebook. London: Methuen, 1988. Williams, Gordon. Macbeth: Text and Performance. London: Palgrave Macmillan, 1985. Woodeson, Nicholas. ‘Troublesome John,’ The Guardian. 10 May 1988. Woods, Carole, ed. ‘Sheer Bloody Magic’: Conversations with Actresses. London: Virago Press, 1991. Wolfe, Debbie. ‘Alive and Kicking,’ Drama, no. 158, 1988. pp. 11–13. Worthen, W.B. ‘The Player’s Eye: Shakespeare on Television.’ Comparative Drama, 18, Fall 1984. pp. 193–202. Wylie, Betty Jane. ‘Play-Doctoring the Text of Pericles,’ The Shakespeare Newsletter, vol. 23, no. 6, (128), December 1973. [no page numbers]. Yarrow, Ralph, ed. European Theatre 1960–1990: Cross Cultural Perspectives. London: Routledge, 1992. Young, B.A. ‘The Oz Trial,’ The Financial Times. 23 November 1971. Zeifman, Hersh. ‘Macbeth,’ Theatre Research International, vol. 4, 1978. pp. 41–44.

Production Materials: Promptbooks, Programmes and Musical Scores

Antony and Cleopatra. dir. Adrian Noble. The Other Place, 1982. The Shakespeare Centre Library, S.3239. Arden of Faversham. dir. Buzz Goodbody. Theatregoround, 1971. The Shakespeare Centre Library, S.1029. As You Like It. dir. Buzz Goodbody. The Royal Shakespeare Theatre, 1972. The Shakespeare Centre Library, S.1387. Production programme, As You Like It. dir. Buzz Goodbody. Royal Shakespeare Theatre, 1973. No accession number. Cymbeline. dir. Bill Alexander. The Other Place, 1987. The Shakespeare Centre Library, S.3979. Cymbeline. dir. Bill Alexander. The Royal Shakespeare Theatre, 1989. The Shakespeare Centre Library, S.4252. Hamlet. dir. Buzz Goodbody. The Other Place, 1975. The Shakespeare Centre Library, S.1907-i/ii. King John. dir. Buzz Goodbody. Theatregoround, 1970. The Shakespeare Centre Library, S.927-i. King John. dir. Deborah Warner. The Other Place, 1988. The Shakespeare Centre Library, S.4243. King Lear. dir. Buzz Goodbody. The Other Place, 1974. The Shakespeare Centre Library, S.1756. King Lear. dir. Cicely Berry. The Other Place, 1988/1989. The Shakespeare Centre Library, S.4244. Macbeth. dir. Trevor Nunn. The Other Place, 1976. The Shakespeare Centre Library, S.2341. Bibliography 155

The Merchant of Venice. dir. John Barton. The Other Place, 1978. The Shakespeare Centre Library, S.2664. Production programme, The Merchant of Venice. Royal Shakespeare Theatre, 1981. The Shakespeare Centre Library. No accession number. Musical score, The Merchant of Venice. Musical director, James Walker. The Other Place, 1978. The Shakespeare Centre Library, S.2666. Occupations. dir. Buzz Goodbody. Royal Shakespeare Theatre, 1971. The Shakespeare Centre Library, S.1087. Production programme, Occupations. dir. Buzz Goodbody. Royal Shakespeare Theatre 1971, The Shakespeare Centre Library. No accession number. Othello. dir. Trevor Nunn. The Other Place, 1989. The Shakespeare Centre Library, S.4278. Pericles. dir. Ron Daniels. The Other Place, 1979. The Shakespeare Centre Library, S.2714. Musical score, Pericles. The Other Place, 1979. The Shakespeare Centre Library, S.2904. Pericles. dir. David Thacker. The Swan Theatre, 1989. The Shakespeare Centre Library, S.4275. Richard III. dir. Barry Kyle. The Other Place, 1975. The Shakespeare Centre Library, S.1911. The Tempest. dir. Keith Hack. The Other Place, 1974. The Shakespeare Centre Library, S.1692. Timon of Athens. dir. Ron Daniels. The Other Place, 1980. The Shakespeare Centre Library, S.2993. The World Turned Upside Down. dir. Buzz Goodbody. The Other Place, 1974. The Shakespeare Centre Library, S.1756.

Video Recordings

Antony and Cleopatra. dir. Adrian Noble. The Royal Shakespeare Company Archive video, 1982. The Shakespeare Centre Library. No accession number. Othello. dir. Trevor Nunn. The Royal Shakespeare Company and Primetime Television Limited, 1990. Macbeth. dir. Trevor Nunn. Thames Television. ATV video recording, 1976. This page intentionally left blank