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Home , Coriolanus, Denis Quilley, Diana Rigg, George Devine, Glen Byam Shaw, Godfrey Tearle

This article was downloaded by: 10.3.98.104 On: 26 Sep 2021 Access details: subscription number Publisher: Routledge Informa Ltd Registered in and Wales Registered Number: 1072954 Registered office: 5 Howick Place, SW1P 1WG, UK

The Routledge Companion to Directors’ Shakespeare

John Russell Brown

Glen Byam Shaw

Publication details https://www.routledgehandbooks.com/doi/10.4324/9780203932520.ch3 Nick Walton Published online on: 26 Apr 2010

How to cite :- Nick Walton. 26 Apr 2010, from: The Routledge Companion to Directors’ Shakespeare Routledge Accessed on: 26 Sep 2021 https://www.routledgehandbooks.com/doi/10.4324/9780203932520.ch3

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The publisher does not give any warranty express or implied or make any representation that the contents will be complete or accurate or up to date. The publisher shall not be liable for an loss, actions, claims, proceedings, demand or costs or damages whatsoever or howsoever caused arising directly or indirectly in connection with or arising out of the use of this material. Downloaded By: 10.3.98.104 At: 14:46 26 Sep 2021; For: 9780203932520, chapter3, 10.4324/9780203932520.ch3 and aboveall unobtrusive critics concurredthathe the greatestcomplimentpaidtothisdirectorwasfrequencywithwhich ing charm also saidtopossessa Glen ByamShaw ations thatthisdramatist with Shakespeare reader ofShakespeare notes, lettersandcharactersketchespaintapictureofdeeplysensitive to hislegfor whichhehadtospend eightmonthsrecovering inanarmy 1940. Heservedhiscountry inBurmafrom1942,sufferingaterriblewound their craftallowedthem the freedomtoexperiment. performances aboveany theoreticalideasofhisown,andsensitivity to producer, Shawcametoberegardedasa experience, andlaterhisworkasanactor-trainer, theatreadministrator and awareness ofthecraftsmanshipinvolvedinaperformance. Duetohisearly uted tohissuccessasadirector. Shaw enjoyed beingonstage,buthisexperienceasaperformer certainlycontrib- (Addenbrooke 1974:19).Biographicalaccounts suggest thathenevermuch ‘ actors areneededtodojusticeShakespeare of whomhewoulddirectlaterinhiscareer. Shawbelievedthat thevery alongside JohnGielgud,LaurenceOlivier, EdithEvansandPeggy Ashcroft,all as anactor. Duringthe1920sand1930shegainedstageexperience,acting Shakespeare callsforstarsthatsoundthetrumpets andmaketheairvibrate Glencairn AlexanderByamShaw(1904 Shaw ’ and ’ . Thesuperlatives ’ s actingcareerendedwhen hebecameanof ‘ sublime GLEN BYAM SHAW ’ , ‘ blessedly straightforward ‘ sympathetic totheplayersandplay ’ ’ ’ oftenappearedindescriptionsofShaw s directionwascommonlyperceivedasbeing s charactersandwhowasopentothevarietyofinterpret- ’ s works,amanwhohadlittledif ‘ Mozartian quality ’ ‘ s worksallow. ‘ allowed Shakespearetospeakforhimself enchanting Nick Walton 3 37 ’ ’ , s formativeexperiencesheightenedhis ‘ ‘ ’ actor splendid , ’ – ‘ , a modelofsensitivepresentation 86) beganhiscareerinthetheatre ‘ a radiance ’ s director ’ s works;inhisownwords, ’ , ‘ subtle fi cer intheRoyalScots ’ ’ fi . Heprivilegedactors andan ’ ’ culty inempathising s work,andperhaps . Hisdirectionwas ’ , ‘ vivid ‘ ‘ assured and ’ unobtrusive , ‘ ’ astonish- . Shaw fi nest ’ ’ s , ’ ’ Downloaded By: 10.3.98.104 At: 14:46 26 Sep 2021; For: 9780203932520, chapter3, 10.4324/9780203932520.ch3 scene withoutinterruptingthe ectorial vision.Amonghisnotes,hewrotethat, tenets ofhisapproachtoShakespearethatremainedfundamentaldir- timings ofscenes.Inconceivingthisproduction,heoutlinedsomethe and speare convalescence hesuggestedthatGlenplanaproductionofoneShake- hospital. Shaw Shaw which hepreparedfortheroleofAntony: and A.C.Bradley,theircombinedin He wasfamiliarwiththecharactercriticismofbothHarleyGranvilleBarker insightful charactercriticism,whichservedasastartingpointforrehearsals. for alloftheroles.Hecontinuedthispracticeovertime,buildinganarchive play be faithfultoShakespeare free fromstructuralemendationordirectorialexhibitionism.Hisaimwasto (Shaw 1946).Throughouthiscareer, ShawpresentedShakespeare point whicharisesfrommystudyisthatonedoesnotwantaBIGproduction company byexample,from thefront. a senseofdisciplineto the rehearsalroom;hehadastrategyandled his and italsohelpedfashion hisapproachtodirection;likeageneralhebrought In preparationforthisproduction,Shawwrotedetailedcharactersketches On hisreturn toEngland,Shawwas abletoputhistheories intopractice and feelsoutofplace. When hegetsbacktoRomelooksunusual,almost likeaforeigner, de popular withhisGenerals.Heisinearly40s,but pasthisbest,and sort of minded, easilyin all nightand sonality. Asensualist.Hehasawonderfulphysique. Hecandrink Antony isagreatleader. Adashingcavalryof is itdone?I course itiseasyenoughtosay characterisation fallstothegroundandprobablyplaywithit.Of over totheaudience.Ifthisisnotachievedbyactor, thenthewhole The manisgreat.Thatthe ’ s spiritcouldbeconveyedmostclearly. ’ s militaryexperiencein fi ’ s plays.Hebegantopreparenotestowardsaproductionof nitely onthedecline.HehasbecomeslightlyEgyptian looking. fi , makingdetailedobservationsaboutcharacters,settingsand cer whoisenormouslypopularwithhistroopsbut notso ’ s brotherwasadmittedtothesamehospital,andduringtheir ’ m surethisisacasewherethe fi ght allthenextdayandwinbattle!Heissimple fl uenced: quicktemperedbutkindandhonest.The ’ s textandtocreateanenvironmentinwhichthe fl uenced hisreadingofShakespeare NICK WALTON fl fi ow oftheplay ‘ rst andforemostthingthatmustbegot You mustbegreat 38 fl uence isevidentinthesenotes, ’ ‘ fi , andaddedthat It seemsdif cer. Atremendousper- ‘ star ’ toanactor, buthow ’ i seta ...] . isessential[. (Shaw 1946) fi cult tocutany ’ s soldiers, ‘ the chief ’ s works Antony ’ Downloaded By: 10.3.98.104 At: 14:46 26 Sep 2021; For: 9780203932520, chapter3, 10.4324/9780203932520.ch3 Shakespeare desire toimitatetheconventionsofElizabethanplayhouseandpresent action toproceeduninterruptedandatgreatspeed.However, despiteShaw team roles. ConsistentwithShaw with thepre-war when heproduced principal performers,whichwasincon tinction tohisproductions. the stagefromclutter, and,ultimately,Motley cisms levelledatthisproduction.Heworkedtocreatepracticalsetsthatfreed Shaw ous. GeorgeRylands complainedthat: style: Shakespearian,Restoration andModern.AsAudreyWilliamson records: Wymark andDenis Quilley. graduates includeKeith Mitchell,DerekGodfrey,JoanPlowright,Patrick again whenhemovedtotheStratfordMemorial Theatrein1952.Notable next generationoftheatrepractitioners,some whom hewouldworkwith stage workoftheOldVic Company.Shawhelpedtoshapeandin ate productionsfornewaudiencesandwhosework couldfeedintothemain Dramatic Schoolwastotrainactors,directorsand designerswhowouldcre- Old Vic DramaticSchool,andtheYoung Vic Company.Theaimbehindthe and GeorgeDevinetoruntheOldVic CentreinLondon,whichhousedThe Shakespeare which, thoughobservedfromlife,couldadaptto thespeedandrhythmsof ity ofperformance.Overtime,Shawbegantoestablishamodernactingstyle, The 1946productionwashamperedbythemanneredactingstyleofShaw The actor-trainingatthe theatreschoolcoveredthreebroadcategoriesof quite lost. tial contrastofthejuxtaposedscenesinRomeandAlexandriawas doors. Thestagewassoclutteredwithpermanentsolidsthattheessen- what appearedtobeanair-raidshelterorelevatorwithsliding the herowithpulleysanda opening whichwasmuddledawaytonothinguntilthehaulingupof table thatthetragedyneverhadachance,fromgreatprocessional The settingof The training includedmuchthatisusual inseriousschools,especially ’ ‘ s developmentasadirectorismarkedbyhisdesiretoaddressthecriti- Motley ’ ’ s scenesinunbrokensuccession,hisproductionprovedponder- s texts.From1947until1951,ShawjoinedMichel Saint-Denis ’ favouredapermanentset,whichintheorywouldallowthe Antony andCleopatra fi lm starsEdithEvansandGodfreyTearle intheprincipal Antony andCleopatra ’ s desiretoavoida GLEN BYAM SHAW fi shing netontotheplatformsurrounding 39 fl wassopretentiousanduncomfor- ict withhisdesireforspeedand atthePiccadillyTheatrein1946, ’ s delicatedesignsbroughtdis- ‘ big (Rylands 1948:105) ’ production,hisdesign fl uence the fl uid- ’ ’ s s Downloaded By: 10.3.98.104 At: 14:46 26 Sep 2021; For: 9780203932520, chapter3, 10.4324/9780203932520.ch3 ibility helpedfashionthis production,whichdifferedmarkedlyinitspresenta- His ownwartimeexperienceandhissensitivity to London tions wasre and audiencestoengagemoredirectlywiththetext itself. Fundamental toShaw expressed hisphilosophytoyoungcompany: of rehearsalsforthe the meticulouspreparationthatheputintohisproductions.Atbeginning dynamics forthemselves. would graduallywithdraw, leavingtheactorsfreedomtoexploreascene room withtheplay cleaners, whichcouldsit,kneelandwalkupstairs.Hearrivedintherehearsal image ofhisvision,heworkedinamodelboxusing ments usingacollectionofmodelsoldiers.To clarifythethree-dimensional were fullydevelopedactors. ing studentsinaShakespeareplayandproceededtodirectthemasifthey Shaw A concentrationuponindividualcharacterisationbecameade glories ofbattle. ThebattleatAgincourt becameonestage in aprotracted because heisconvinced of thejusticehiscause,notoutadesirefor the explored theplayfrom perspectiveofaquiet,saintlykingwho audiences hadbecomedisillusioned withthesupposedgloriesofwar, Shaw tion ofpatriotismfrom Shaw Shaw approacheddirectionasabusinessundertaking,andactorsvalued Having preparedhisdetailednotes,hewouldworkouttheactor It mustbe we workoneveryaspectoftheproductionaswell aswepossiblycan. play betterthanithaseverbeendone,andwecanonlyachievethatif Our strengthshouldbeinthefactthatwearedeterminedtodothis and design. production, andinadditionlecturesonthehistoryofLiterature,drama mime andmake-up,someuseofcomicmasks,fencinglessons,voice .].Therewasanemphasisonimprovisation,classesin . Quinze [. Arts theatreandtheFrenchVieux ColombierandCompagniedes schools withelementsofgroupoutlooksympathetictotheRussian ’ s approachtoactor-training.Hewouldbegineachnewcoursebycast- ’ s growingdesiretobringacontemporaryrelevance tohisproduc- fl ected inhisdecisiontostage ‘ alive ’ fromthebeginning. ’ s movesmappedinhismind,andasherehearsed, ’ s directorialapproachwashisdesiretoencourage actors fi rst oftheYoung Vic NICK WALTON 40 ’ s popular1944 ’ s productionsin1948,Shaw (Williamson 1957:71) atTheOldVic in1951. fi gures madefrompipe- ’ fi (Shaw 1948) s post-warsens- fi lm. Aware that ning featureof fi ghts only ’ s move- ’ s Downloaded By: 10.3.98.104 At: 14:46 26 Sep 2021; For: 9780203932520, chapter3, 10.4324/9780203932520.ch3 plight andcharacter. Ahighproportionofthe857linesomittedmaderefer- cut dramatically,encouragingamoresympatheticunderstandingofHenry without interruptingthe sions aboutthenatureofaprolongedmilitarycampaign. necessity. AlecClunes campaign ratherthantheclimaxofpatrioticwarmongering,anunfortunate French court.Forthispost-war audience,PaulRogers Further sympathyforHenry wasevokedthroughShaw of Clunes subtle characterisationcanbeappreciatedfromRichardDavid sense ofresponsibilitythroughouttheproduction.Shaw rose withdignitytotheDauphin way intokingshipbehindafa benevolence inhisperformance.At French (ActIV, Scene8,lines91 graves Henry fatalities ofwar, softeningShakespeare (Act IV, Scene6,line37).Shawremoved someprominentreferencestothe cantly bytheomissionofhiscommand (Act I,Scene2,lines278 ‘ young man(ActI,Scene2,lines269 omitted theKing with tradition,ShawshortenedHenry ence toHenry goblets from thehandsofanattendant. Later, before hisentranceinAct III, Act II,Scene4,theDauphin spunroundinfuryandstruckatrayofmetal intemperance wasmatched withphysicalviolence;asExeterdeparted in Hitler throughthevicious andhystericaldeliveryofhislines.Thisvocal dazzle alltheeyesofFrance,/Yea striketheDauphinblindtolookonus Shaw Despite Shaw a heroic We werethusbroughtclose toaHarrywhowasverymuchmorethan Clunes carrieduswithhimthrougheachturnof theKing that theclimaxwasoverwhelming;andinspeech onCommodity we bandofbrothers Just becauseitbegansoquietly,informally, ’ ’ (ActIV, Scene3,lines96 s poignantspeech ’ s textualalterationsgaveClunesthefreedomtoforegroundHenry ’ s deliveryofHenry fi gure inapaintedcloth. ’ s youthfulunrulinessandtohisambitionsinFrance.Breaking ’ s originalcontentionthat, ’ s admissionofthe ’ s KingHenry,liketheaudiencesof1951,hadfewillu- ” – ‘ fl gatheredirresistiblepowerasitproceeded,so A manyofourbodiesshallnodoubt/Findnative 80). Henry ow oftheplay ’ ç GLEN BYAM SHAW s lines: ade ofregality.Heattainedfullstaturewhenhe – ’ 101). s insultandcontinuedtoconveytheKing – 108) anderasedthenamesoffallen fi – ‘ 41 72), andhesilencedhisbloodydesireto ’ rst, heappearedremoteasiffeelinghis barbarous licence s reputationwasalsoenhancedsigni ’ s rawremembranceofthedead;hecut ’ ‘ s replytotheDauphin Then everysoldierkillhisprisoners ’ (1946),thetextof ‘ it seemsdif “ We few, wehappyfew, (David 1952:126) fi ’ hehadenjoyedasa cult tocutanyscene ’ ’ ’ s Dauphinevoked s concentrationon s depictionofthe ’ s thought. Henry V ’ s description ’ s insult;he was fi ’ ’ ’ s s s - ’ ’ Downloaded By: 10.3.98.104 At: 14:46 26 Sep 2021; For: 9780203932520, chapter3, 10.4324/9780203932520.ch3 lecherous sidetotheDauphin Scene 7,thescreamsofapeasantgirlcouldbeheardoffstageimplyingcruel anticipated IanHolm of Stratford tours overseastothirteencountriesandproduced twelveplayshimself. best ofBritishtalent.Ineightyears,hearranged fourLondonseasons,sent from asmallprovincialtheatreintoaninternational showcaseforsomeofthe formed toWest Endstandards. ShawhelpedtransformtheMemorialTheatre led bydistinguishedactors,whocouldpresentasmallrepertoireofplaysper- a visionforShakespeareatStratford;theylookedtoassemblelargecompany, ally becomingHeadoftheCompanyhimselfin1957.QuayleandShawshared joined AntonyQuayleattheShakespeareMemorialTheatrein1952,eventu- room. Hisadministrativeanddiplomaticskillswereofimportancewhenhe ial skillswhileexploringShakespeare ‘ ing, andhisapproachwaspraisedforthedemandsitputuponaudiences Shakespeare before Agincourt.Shawsuccessfullyblendedthebare-stageconventionsof provision wagonsrepresentedthebattle actors beforeHenry courts; themastheadsoftwoships(positionedupstage)toweredover banners wereunfurledtoindicatemovementbetweentheEnglishandFrench tall bareness toShaw other players,costumedinrichbutsubduedhistoricalsplendour. Therewasa white shirtandblacktrousers,theChoruscontrastedeffectivelywith ence, winninghimbothsympathyandloyalty.Dressedinanopen-collared Livesey; hiscasualdeliveryoftheChorus 1964 RSCproduction,whichalsopresentedakingwithnorelishforwar. imaginary forces Shaw Running theOldVic Centredeveloped Shaw Great emphasiswasplacedupontheroleofChorusplayedbyRoger better. ledge, wantstoseetheplay. Iftherearestarsinthesky,somuch fantastic. Themuchlarger public,withnopretensionstospecialknow- novelty ofapproachand favoursexperimenteventothevergeof which, knowingShakespeare andtheatricalpracticeintimately,wants dilemma. Hispublicisadoubleone.Small,butvocal, isthatsection The producerofShakespeareatStratfordhas always tofaceone fl agpoles arrangedsymmetricallyoneithersideofthestage.Flagsand ’ s approachtostagingShakespearesatis ’ ’ s post-waraudiences.IvorBrownnotesthat: s Globewiththenewstagecraft ’ ’ . s stage.TheChorusspokehisopeninglinesinfrontofsix ’ s embarkationforFrance,andacoupleofcannons ’ s portrayalofHenryinJohnBartonandPeterHall ’ s character. Shaw NICK WALTON 42 ’ s worksonstageandintherehearsal fi eld asHenrymotivatedhistroops ’ s linesendearedhimtotheaudi- ’ s emphasisuponsuggestivelight- ’ s organisationalandmanager- ’ s interpretationofthedrama fi ed thediverseexpectations (Brown 1959: 11) ’ s ’ Downloaded By: 10.3.98.104 At: 14:46 26 Sep 2021; For: 9780203932520, chapter3, 10.4324/9780203932520.ch3 approach todirectingworksforthesecondtime: with instant stars inMichaelRedgraveandPeggyAshcroft,investingtheprincipalroles performed inStratfordforeightyears.HisproductionboastedWest End In 1953,Shawchosetoreturn Motley Rome asbeingcoldandhardcharacterisedbyruthlessdetermination. Egypt withwarmth,luxury,colour, disorderandpassion,whileheperceived the atmosphereinEgyptandRome tant thingsintheproductionwillbetomakeacleardifferentiationbetween Shaw stressedatthebeginningofrehearsalsthat different. refused tochangemyfeelingabouttheplayinordertryandbe other productionandaimtodoitfresh.OnthehandIhave say thatIhavetriedtoeliminatefrommymindthememoriesof part inaproductionofmine.Icanonlyaskyoutobelievemewhen played apartinanotherproductionifheisgoingtoplaythesame sonally Iamalwaysslightlyworriedwhenknowanactorhas led intodoingitdifferentlyjustforthesakeofbeingdifferent.Per- that theywillwanttodoitagaininexactlythesamewayorbe think thatifsomeonehasdoneathingbeforethereisalwaysfear would besillyifIdidn I wanttotellyouatoncethathaveproducedthisplaybefore.It cance inthemoodof play. blaze ofEgyptiannoonday, thelightingwasneverwithoutitssigni against thesky.Thoughit waslongbeforewehadthedeepunclouded sometimes asimple three hoursthestageisbare exceptfora released hydraulicallyfrombelow. Butduringmost ofthesetense simple pieceofcrackedmasonrywithgiganticEgyptian wall suf down fromabove,withtheadditionofsomesparse ship as barepossible.Almostalltherestis there isnosetscenery.Thestage,saveforacouple ofslenderpillars,is costumes havebeendesignedbyMotley,andyet inthestrictsense The playisnothamperedbyunnecessaryd fi ’ s sparsedesignattractedpraiseforitsminimalistquality: ces forPompey ‘ star quality ’ fi s galley.OnesetforCleopatra ’ . Shaw gure ortwo ’ ofs t[ .]Isay . t confessit[. GLEN BYAM SHAW ’ s openingaddresstohiscompanyreveals Antony andCleopatra 43 fi gures atparleyaresharply etched fl ( ight ofshallowsteps,and Scotsman ‘ props é cor. Bothsceneryand ‘ confess it ‘ one ofthemostimpor- ’ ’ (1953).Heassociated . Asimplesaillet ’ , whichhadnotbeen s monumentisa , 30April1953) (Shaw 1953) ’ s furniture, ’ becauseI fi gures, fi - Downloaded By: 10.3.98.104 At: 14:46 26 Sep 2021; For: 9780203932520, chapter3, 10.4324/9780203932520.ch3 physique matchedShakespeare other inrapidsequence avoiding magni 1953), anditwascommonlyassertedthatShaw small scenesintothefulltide nobility andruin: (Act I,Scene1,line12).Hisrichlytexturedvoice capturedbothAntony death. Reviewerspraisedtheproduction to Octavia,andthesecondafterActIV, Scene9,concludingwithEnobarbus after ActIII,Scene3withCleopatraawaitingAntony ated withthiscamp.Shawintroducedtwointervals.The marched acrosstheforestageinActIII,Scene6,thatactioncametobeassoci- alert. ScenesinRomewerelargelystatic,anditwasnotuntilCaesar guards stoodbeforeadrapedepictinganeagle, art woman withanaturalgraceandeffortlessdignitynoneedforseductive Cleopatra movedeffortlesslyaboutthestage: stretched outonthe having loweredtheirqueentothe was carriedontothestageforActI,Scene5onalitterbyfourslaves,who, Antony tor unsatis with greatenergyasAntonyandCleopatra ated Egyptwithheightenedandturbulentemotions.Theproductionopened from balmy,brilliantyellowsintocoldblue-greys. the cycloramaupstagewheneveractionmovedtoRome;lightingchanged time andatmosphere.ThesultrywarmthoftheMediterraneansunfadedfrom inherited hisfather Shaw At 6foot2inches,RedgravetoweredaboveAshcroft, andhispowerful The atmosphereinCaesar By varyingthepacingandmomentumofopeningscenes,Shawassoci- ’ , 8May1953).Thisopeningvigoursoonsubsidedintolanguorwith (Ellis, Scene 3,line38],the who hadbeen,socredibly, Scene 15,line35]wasall themorememorableforitsdeliverybyaman exquisite musicinhisvoice, andtheeffectof .kingswouldstartforth . . Although hecouldboomwithrageandde ’ s fatherJohnhadbeenapainterandillustrator, andhissonevidently fi ’ s departureforRome.Incontrastwithher ed downthelongstepsbathedinahot,sandylight Stratford-on-Avon Herald fi cence forthesakeofallowing42scenestofollow each ’ s sceniceye,varyinglightingtosuggestchangesinspace, fl ’ ( oor; othersleanedagainstthepillars.Throughout, fi The Times gure inCleopatra ’ ” s campwascrisperthaninEgypt;Caesar ’ ’ NICK WALTON (Ellis, “ s descriptionof [ActIII;Scene13,lines90 the greatestsoldierin world , 29April1953). , 1May1953). 44 fl Stratford-upon-Avon Herald oor, adoptedslothfulposes:some ’ s ’ s dream. ‘ admirable rhythm,the ‘ whirled ina fi ‘ ‘ ance ( Here isawomanwhoall the triplepillarofworld fl ’ “ anking theirleader, always s unarm, Eros ’ (Findlater 1956: 129) s returnafterhismarriage ‘ fi magni rst entrance,Cleopatra “ when Icried,Ho! – ’ fi fi (Fleming, 1]), therewas fl rst intervalcame cence consistsin urry ofpassion ” [ActIV, ” [ActI, , 1May fl ’ Specta- s army ow of ’ ’ s s ’ ’ Downloaded By: 10.3.98.104 At: 14:46 26 Sep 2021; For: 9780203932520, chapter3, 10.4324/9780203932520.ch3 fi that hewrotewhileinBurma1942.WhenShawapproachedtheplayfor ences betweenthenotesthathepreparedforMichaelRedgraveandthose A subtledevelopmentinShaw being withherisimpossibletogiveup him sheislikeadrug.Heknowsdestroyinghim,buttheexcitementof his relationshipwithCleopatraandherin still having reveal Antony quite literallyasaplatformuponwhichthehighsandlowsoftheirrelation- competed withAntonyforascendancyontheupstagesteps,whichserved nating frenziesofpassionandfrustration.Duringthecourseplay,she 1953). Ashcroft in herclothesasmuchtantrums of colourswasblinding,butstronglyeffective.Wilfulness andwitcherywere sported a Cleopatra phasised Cleopatra expect voluptuousperformancesoftherole,yetAshcroftsubtlyem- plotting Antony ing general.ShawsteeredAntony play; hisswaggeringsoldieroftheopeningscenestransformedintoacommand- ing, Redgrave Ashcroft, ,Laurence OlivierandVivien Leigh.In1955, ,AntonyQuayle, CharlesLaughton,HarryAndrews,Peggy star actorsheemployed; stars oftheStratfordstageduring1950sincluded quality ofhisproductions wasdueinparttotheremarkabletalentsof the as DianaRigg,IanHolm, Vanessa RedgraveandIanBannen,the polished ing histimeatStratford. Whilehelookedtonurtureyoungperformerssuch Post lofty, withwhatmightbecalledaclassicdetachment to herbosom,MissAshcroftrodethetragedy asuperbclimax,calmand of theproduction: fi Scene 5.ThepresentationofCleopatra Charmian topreventthisCleopatrafrommurdering themessengerinActII, accentuated byherattendants soft laughter, butthislightnessgraduallydisappeared.Cleopatra ship wereplayedout.AshcroftpunctuatedCleopatra rst time,hewaseagertoconveyAntony ed, insharpcontrastwiththeenergyandpassion thatcharacterisedtherest The castingofAshcroftwascontroversial.Audienceshadcometo Shaw , 30April1953). ’ s castingofstaractorsbecameafeaturehisdirectorial policydur- fl ’ s tigressqualityemergedthroughAshcroft ame-red wigandworevibrantorangepurplerobes: ‘ a dashandcouragebuthisjudgementisdangerouslyaffectedby ’ ’ s Antonygraduallyacquirednobilityduringthecourseof s failingsfromthestartofdrama.HedescribedAntonyas ’ ’ s progressivedeclinethroughthedrama. s speedofmovementacrossthebarestagere ‘ In theMonumentsceneandespeciallywhentaking theasp ’ s intelligenceandinnatedignityabovehersexualallure. GLEN BYAM SHAW ’ ’ horroratheractions;ittookascreamfrom s readingofAntonycanbeseeninthediffer- ’ s portrayaltowardsgreatnessratherthan 45 ’ (Shaw1953).InlinewithShaw ’ s ’ fl s greatness,yetin1953helookedto fi uence overhim nal momentswascalmanddigni- ’ (Dick, Daily Herald ’ ’ s earlyspeecheswith (T.C.K, ’ ’ . Henotedthat, s appearance;she fl ected heralter- Birmingham ’ s furywas , 27April ‘ The clash ’ s read- ‘ To Downloaded By: 10.3.98.104 At: 14:46 26 Sep 2021; For: 9780203932520, chapter3, 10.4324/9780203932520.ch3 list oftenthingshefeltthataudiencesneededtobe madetobelieve: pairing offofthecouples,andhappyending love contain, drama asa Company, thetheatricalexperiencewaslightandromantic.Shawsaw became ade distinction tothisproduction. Shaw Olivier of Olivier landmark inthatplay Shaw castOlivierandLeighin Thatthesame canapplytoSilviusand Phebe. 9 ThatOlivercanmarry Celiaandthattheywillbothbehappyforever 8 ThatOrlandoisnotsure RosalindisGanymedeornot. 7 Thatitisthesortofforest whereonemaymeetalionorsnakegoat. 6 ThatAdamisdyingfor wantoffoodandshelter. 5 That theforestisaforest. 4 That Rosalindisbanished. 3 ThatCharlesisasuperbwrestler. 2 That Oliverintendstokillhisbrother. 1 Shaw returnedthreetimesto after. other actorswouldhaverisked. stools robbed! received withhorri was trueagonyin of desperatebewildermentastheprizeissnatchedoutreach.There remorse. Nowtheportraitswells;seekingsecurity,heisseizedwith Uxoriousness leadshimtotheact,whichunexpectedlypurgesof sad familiarity;itisa recoiling andpoppinghiseyes,hegreetstheair-drawndaggerwith having alreadykilledDuncantimeandagaininhismind.Farfrom revealed. ThisMacbethisparalysedwithguiltbeforethecurtainrises, [Olivier] beginsinaperilouslylowkey,thereasonforwhichissoon ’ , andthethirdwouldbeconcernedwith ’ s concentrationupontheinherentrhythmswithindramabrought ’ s depictionofMacbeth ‘ drama, action,anddescription ” ’ s performance: wasaccompaniedwithaconvulsiveshovinggesturewhichfew ” ‘ fi , andthephraseaboutdeadrisingto fairy story ning qualityofhisproductions.In1949,withtheYoung Vic ’ s stagehistory.KennethTynan championedthepacing fi ’ c tormentasifMacbethshouldshriek “ thatcouldbetoldinthreeparts.The I hadelsebeenperfect fi xture inthecrookedfurnitureofhisbrain. ’ NICK WALTON As You LikeIt s psychologywasuniversallyacclaimed,and (Tynan, 46 ’ Sunday Observer , thesecond , producingwhathasbecomea ‘ the windingupofstory, . Hissensitivitytoitsstructure ’ (Shaw1948).Hedrewupa ” ; Banquo ‘ freedom, openair, and “ push usfromour , 12June1955) ’ s ghostwas “ I ’ ve been fi rst would fi ts Downloaded By: 10.3.98.104 At: 14:46 26 Sep 2021; For: 9780203932520, chapter3, 10.4324/9780203932520.ch3 interpret theplay,andmusicalityofitscharactersasfollows: were in ThatJacquesdeBoyscanbringsuchextraordinary newsjustattheright 10 action asunfolding intimewiththe changingoftheseasons. Thewinter good itisnottobeold ence longtobeyoungagain, andeveryyoungpersonintheaudiencefeelhow experience thatwouldmake beginning oftherehearsal periodwereclear;heaimedtoproduceatheatrical with moreromanticrusticattirewornintheforest. Shaw the paintingsofVan Dyke.Thedesigncontrasted exquisitecourtlycostumes designers tocreateastageworldreminiscentofthe reignofLouisXIIIand with thetraditionofgivingplayanEnglishsetting andworkedwithhis connected totheplay aged thenitishopeless Experience hadtaughthimthat While Shaw The keytoShaw Calmer, warmerandwithacertaindramaticfeelingwhichofcourse emotional. Thetopofpoeticfeeling.CeliaandOliveraretheviolas. and Orlandoareliketheviolins.Exciting,exquisite,brilliant between thefourpairsofloversIshallputitlikethis:tomeRosalind vitality ofMozart me ithassomethingofthesamecharm,gaiety,freshness,youthand It islikeapieceofmusic,andI,personallythinkMozartbecauseto pairs ofloversforitisonthattheconstructionplayhangs. tial thatthetrueandrightbalanceshouldbefoundbetweenthesefour Touchstone andAudrey,fourthSilviusPhebe.Itisofcourseessen- the theme The themeofthisplayislove,andtherearefourmainvariationson moment. touching. fl with alush,succulentfeelingaboutthem.SilviusandPhebearethe bassoons. Fantastic,humorous,earthy,crudeandunexpected.Also of theirown,andfullheart.Touchstone andAudreyarelikethe comes fromOliver. Notsobrilliantastheviolins,butwithabeauty utes. Light,gay,saucy,andveryyoungfreshbutintermittently fl uential forhisapproachinfutureyears.By1952,hehadcometo ’ s fi –

rst productionwasnotjudgedasuccess,hisinitialimpressions fi rst RosalindandOrlando,secondCeliaOliver, third ’ s staging,andhisgreatest innovation,wastopresentthe ’ ’ s Frenchsetting.ForhisStratfordproductionhe broke ’ s music.To explainhowIimaginethedifferences (Shaw1952). ’ (Shaw1952).ForShawthelightnessoftonewas ‘ GLEN BYAM SHAW every oldandmiddleaged personintheaudi- ‘ if theplaybecomesheavyhandedormiddle 47 ’ s intentionsatthe (Shaw 1952) (Shaw 1948) Downloaded By: 10.3.98.104 At: 14:46 26 Sep 2021; For: 9780203932520, chapter3, 10.4324/9780203932520.ch3 staring dejectedlyatthethrone.Rosalind courtly processionpassedacrossthestagesheappearedatitstailandstood of Rosalind.Onher comical senseoflocation. underscored thesecondandthirdmovements,bringingavivid,butknowingly the openingscenes.Thepastoralsoundofbellsandbleatinggoatsoffstage lighting disappearedsotoodidthesoundofwhistlingwindthatunderscored low-spirited atmosphereoftheopeningsceneswasbanished.Aswinter court inAct I, Scene2. were insharpcontrastto theformalprocessionwitnessedinDukeFrederick ground, Shaw ent palmtreesetbetween lessexotic spring, theforestadopted atropicalexuberance,boastingcactiandpromin- lea tastical. Motley Shaw been revealedatthispoint. alternative interpretations,centringonwhetherGanymede Rosalind fi caught herbytheseatoftrousersandpulled backtoallowCeliago front ofhercompanionstoleavethestage,but Laurence Harvey view withOrlandoinActIII,Scene2.Here,RosalindasGanymedecrossed ing throughinsertingsomecontrivedbusinessatthecloseofher acquired atomboyishquality,andShawconveyedthefragilityofherpostur- allowing theDuketodominateaction.OnenteringArden,Rosalind ment (ActI,Scene3,lines45 opening scenes;herwordsofremonstrancetotheDukeagainstbanish- his verses,thelightingre budding relationshipsintheforest.BytimethatOrlandoarrivedtohang 2003: 47). not progressfromwintertosummerwouldbehard Robert Smallwoodnotes, scenes. SomereviewersexpressedshockatseeingsnowinArden,yetas ened audienceawarenesstothelackofwarmthandfruitfulnessinopening edy setinhighsummer, butShaw and Rosalind setting oftheopeningscenesgavewaytospringwithawakeningOrlando rst. Asheleftthestage,Harvey Shaw While lifeintheDuke With Rosalind fl ess trees,givingtheforest bothausterityandcharm.With thearrivalof ’ s Ardenwasevidentlymorerelaxedandfree, if notsomewhatfan- ’ s productionwasenergisedbyMargaretLeighton ’ s capoverhereyes.Throughthisgesture,Shaw invited arangeof ’ s love.Audienceswereaccustomedtoseeingthisromanticcom- ’ s foresterslayaroundthe stageeatingfruit;theirrelaxedposes ’ s greenwooddesignconsistedofaspreadscaffold thin ’ s entranceintoArden,thelightingwarmedtore fi rst entrance,sheappearedisolatedandlonely;asa fl ected aclearspringmorning,andthedull,dreary, ’ ‘ s courtwaspresentedasspiritsti a fewproductionslater, andanArdenthatdid – 50 andActI,Scene2,lines59 NICK WALTON ’ s decisiontoopentheplayinwinterheight- fl 48 ora andfauna.Despitethe snowonthe ’ s Orlandogood-humouredlypulled ’ s spiritappearedcrushedinthese ’ s spiritedportrayal ’ s trueidentityhad fi nd – ’ 63) werecut, (Smallwood fl ing, lifein ’ s Orlando fi rst inter- fl ect the ’ s Downloaded By: 10.3.98.104 At: 14:46 26 Sep 2021; For: 9780203932520, chapter3, 10.4324/9780203932520.ch3 3. Shawhadagiftforelicitingwell-conceivedportraitsfromhissmall-part sniggering asTouchstone andAudreykissedatthebeginningofActV, Scene pond havingmarriedTouchstone andAudrey,latertwopageboyssat Sir OliverMartext,startledbythesoundofagoat,fellbackwardsinto following detaileddirectorialnote: actors. BarryWarren, whoplayedthegoatinthisproduction,received characterisations oftheplay Shaw stagedmomentsofvaudevillianslapstickandprovidedcolourtothe dance endedtheproductioninafestivemood. stark contrasttothelow-spiritedbeginningofthisproduction,closing as Rosalind,followedbyCeliamadetheirwaytothefrontofstage.In in herwoman appearance ofHymen.Asinafairytale,Rosalindappearedupstage,dressed court scenes gave waytoa (Trewin, Peggy caninspiremore immediate affectionthananyactressonthestage appears; ifwehavesomuchasashadowofdoubt, theplaycanwaver. Dame as Rosalind;J.C.Trewin stated, reformulation ofsomekeymomentsintheplay. this ambitionthroughacombinationofinspired casting,redesignand tion emotion andrelationships ology isnotimportantinthisplay,comparedwith theexpressionofhuman standing oftheplay in 1957.Sincehis spontaneity toRosalind able toconveythecharacter age, Ashcroftwasmoremature thanShakespeare Alongside thetenderrevelationssharedbetweenOrlandoandRosalind, Shaw alteredShakespeare Shaw directed The freshnessoftheproductionowedmuchto castingofPeggyAshcroft The goatisavery sheep andgoatsbaableat. not inLondon,andaudiencesherereallydoknowhowbirdssing good. Buttheymustbedoneverywell.Thistheatreisinthecountry, be madebythecompanyandnotrecordingswhichareneverany forest therearebirds,sheepandgoats.Iwantthesoundsofalltheseto ‘ lighter, fresherandmoreFrenchinfeeling Illustrated LondonNews ’ s weeds,andtheonstageaudienceturnedtowatchindisbelief As You LikeIt fi rst productionin1949,hehaddevelopedadeepunder- ’ s potentialtocharmaudiences,concludingthat fi erce animalthatterri ’ s wordsandactions;the stillness ofmovementinthe ’ (Shaw1957).Helookedtomakehis fl uidity ofmotion onceintheforest; ’ s disarmingcharm.Ashcroft broughtasenseof ’ GLEN BYAM SHAW ’ s stagecraftinthe s supportingcast.To theaudience atStratfordforthe ‘ , 13April1957).Though at48yearsof we havetolikeRosalindthemomentshe 49 fi es SirOliverMartext.Inthe ’ (Shaw1957).Heachieved ’ fi s Rosalind,theactresswas nal scenebycuttingthe fi nal time (Shaw 1952) fi ‘ ve yearslater Dame Peggy, fi nal produc- ’ s delight, ‘ psych- ’ Downloaded By: 10.3.98.104 At: 14:46 26 Sep 2021; For: 9780203932520, chapter3, 10.4324/9780203932520.ch3 (Trewin, fathers whenthereissuchamanasOrlando? love, andwhenshespinsroundinsuddenecstasyat in hercrimsonjacket,isessentialGanymede direct anduncomplicated approachtocharacterseemsmethefundamental wrote that, heightened emotionsprovokedbyHymen avoided ostentatiousdisplayatthismomentand focusedattentionuponthe and William whoaccompaniedhimon rustic wagonpulledbythetwopageboys;heshared thewagonwithCorin think thatheistherealHymen everyone includingtheDuke,andasitisanenchanted ForestI,personally, sonating theGodwedon earlier. Hehadconcludedthat, tion andincludedtheappearanceofHymenhavingomittedit moments inthedrama. the sensualcraftsmanshipunderlyingShakespeare movement broughttouchesofvisualpoetrytohisproductionandhighlighted Shakespeare offered hisstooltotheailingAdam,who,inwearycondition,personi stage tableaux.AsJaquesconcludedhisspeechonthesevenagesofman,he design oftallspindlytreesagainstaclearskyfocusedattentionuponstriking that hadbeenlackingfortheproductionin1952.Motley delicate designsfortheforestlocationsbroughtaspaciousnesstostage in dappledvistasofunreality as was re ated somewhat.Shaw to April,thoughtheseverityofwintersettingforopeningwasmoder- Motley imaginative feeling energy andvitalityishighlytemperamental.Sherestlessfullof mood toanotherinasurprisinglyshortspaceoftime.Shehasenormous cast anactresswho productions. Inhis Quayle virtue inMrGlenByamShaw while Douglas Searle,PeterHall and PeterBrookrespectively directed Shaw respectedShakespeare Shaw retainedhisnotionoftheplay Shaw becamesoleDirector oftheMemorialTheatrefollowingAntony ‘ a never-neverlandwherepeoplewithrealemotionsplayhideandseek fl ’ ’ ected inMotley s designdulyre s resignationin1956.Between 1957and1959,Shawoversawsixteen Illustrated LondonNews ‘ ’ a trustinhisauthorandactors,straightplaying andina s descriptionoftheseventhage;Shaw ’ (Shaw1957). fi rst season,hedirected ‘ can beverysadorgay,andswitchfromone ’ s continuingdesiretoapproachtheplayasafairytale ’ fl s newabstractdesignforArdenwhichwaspresented ected aprogressionintheplay ’ t havetoworryabout.HeisacceptedasaDeityby ’ s workasaproducer ’ s structuringofthe ‘ ’ NICK WALTON ’ whether heisreallyaGodorsomeoneimper- (Fleming, (Shaw1957).Hymentooktothestageona , 13April1957).InPeggyAshcroft,Shaw 50 ’ s seasonalityforthisproductionand fi ddle andpipeashesang.Shaw ’ As You LikeIt Spectator – s words.MurielStClareByrne Rosalind; sheisfathomsdeepin ” , thereisnomoretoadd ’ s shapingofthisandother fi ’ ’ (Byrne1957:481). nal sceneforthisproduc- s marryingofwordwith , 26April1957).The “ ’ s actionfromMarch But whattalkweof and ’ s sparsestylised fi ve years fi ed ’ , Downloaded By: 10.3.98.104 At: 14:46 26 Sep 2021; For: 9780203932520, chapter3, 10.4324/9780203932520.ch3 openedtheseasonandwasfollowedbyTyrone Guthrie Hall Charles LaughtonandLaurenceOliviercontributedtothesuccessofPeter Victorian-costumed studded programme. coincided withthetheatre moved betweenOrlandoandMarcAntony.Shaw the rolesofPhilipFalconbridge,BrutusandCaliban,whileRichardJohnson encouraged challengingcross-casting;AlecClunes,forexample,wascastin productions of (Findlater 1956:127). supreme virtueofaByam ShawproductionisthatShakespeareitshero ception. Onereviewerspoke formanywhenhewrotein1956that, they privilegedShakespeare and throughoutthe1950s,Shaw work tobesteepedintraditionalism.However, foraudiencesof thelate1940s regarded PeterBrookandTyrone Guthrie asinnovativeandjudgedhisown unlikely thatShawwouldhavelabelledhimself atheatricalinnovator;he super performers onstageandnottodistracteyes,ears ormindswithanything role asdirectortofocusaudienceattentiononto thecraftsmanshipof speare entranced withhisorhervoice,bodyandpresence,combinedShake- emphasise therelevanceofhisplaystomodernworld. principle, whichwastopresentShakespeareinacontemporaryfashionand create thefaceofnewcompanycanbeseenbehindRSC Shaw to hisproductionsbecamethebedrockofPeterHall ing offreshtalentandhiscommitmenttobringingacontemporaryedge Shaw continuedtopromoteaclearapproachpresentation.Hischampion- (Brien 1959:223). worst, hemumblesandgroanswiththethread-baremoanofanoldviolin the willowsratherthanbrasssectionofmusicspheres.Athis of authorityrobbedtheplaystature: disappointment. FailinghealthlimitedLaughton Laughton For Shaw, itwasthepotentialthatanactorhastoholdaudience Until hisowndeparturein1959,topursueacareerasanoperadirector, ’ s productionsof fl ’ s in ’ uous totheexperienceofperformanceasitunfolded intime.Itis s words,thatrepresentedthemagicandmystery of theatre.Itwashis ’ fl s portrayalofKingLearforShaw uence uponPeterHallandmanyoftheactorswhohelped All A MidsummerNight ’ s Well thatEndsWell , ’ ’ s 100thseason,forwhichhedesignedastar- s textsaboveanydirectorialinterventionorcon- GLEN BYAM SHAW ’ s productionsappearedinnovativebecause 51 and ’ ‘ s At hisbest,hesoundslikethewindin ’ ’ s farewellproductionproveda s Dream . Star-castingintheshapeof ’ , starringPaulRobesonand s performance,andhislack ’ s fi ’ and s visionfortheRSC. nal yearatStratford . Therangeofplays ’ s founding , yet ‘ the ’ s ’ ’ Downloaded By: 10.3.98.104 At: 14:46 26 Sep 2021; For: 9780203932520, chapter3, 10.4324/9780203932520.ch3 Beauman, Sally(1982) Addenbrooke, David(1974) productions. Thenotebooksreferredtointhischapterarehoused inthisarchive. The archivealsoincludesrecordedinterviewswithShaw and photographsofhisStratford and notebooksthatGlenByamShawusedforhisworkatthe ShakespeareMemorialTheatre. The ShakespeareCentreLibraryinStratford-upon-Avon holdsanarchiveofthepromptbooks AppointedDirectorofProductionsatSadler 1962 1959 1958 AppointedDirectorof the ShakespeareMemorialTheatre 1957 1956 1955 1954 1953 1952 1951 1950 1949 AppointedDirectorofOldVic Centre 1947 1946 Brown, Ivor(1959) Brien, Alan(1959) Bate, JonathanandRussellJackson (eds)(1996) Oxford: OxfordUniversityPress. Kimber. Oxford UniversityPress. Antony andCleopatra Avon Romeo andJuliet Julius Caesar As You LikeIt Othello Stratford-upon-Avon The MerryWives ofWindsor Macbeth Avon Troilus andCressida upon-Avon Antony andCleopatra Richard III Coriolanus Appointed Co-DirectoroftheShakespeareMemorialTheatre Avon As You LikeIt Henry V Merchant ofVenice As You LikeIt , ShakespeareMemorialTheatre,Stratford-upon-Avon , ShakespeareMemorialTheatre,Stratford-upon-Avon ‘ , OldVic Theatre,London Simulation intheFields Shakespeare Memorial Theatre1957 , ShakespeareMemorialTheatre,Stratford-upon-Avon , ShakespeareMemorialTheatre,Stratford-upon-Avon , ShakespeareMemorialTheatre,Stratford-upon-Avon , ShakespeareMemorialTheatre,Stratford-upon-Avon The RoyalShakespeareCompany: AHistoryofTen Decades , ShakespeareMemorialTheatre,Stratford-upon-Avon , ShakespeareMemorialTheatre,Stratford-upon-Avon , OldVic Theatre,London The RoyalShakespeareCompany:PeterHallYears , ShakespeareMemorialTheatre,Stratford-upon- , ShakespeareMemorialTheatre,Stratford-upon- , OldVic Theatre,London , ShakespeareMemorialTheatre,Stratford-upon- , PiccadillyTheatre,London , ShakespeareMemorialTheatre,Stratford- Bibliography NICK WALTON Chronology ’ , Spectator 52 , ShakespeareMemorialTheatre, Shakespeare: AnIllustratedStage History , 203:223 – 59 , London:Reinhardt. ’ s Wells Theatre – 4. , London: , Oxford: , Downloaded By: 10.3.98.104 At: 14:46 26 Sep 2021; For: 9780203932520, chapter3, 10.4324/9780203932520.ch3 Mullin, Michael(ed.)(1976) Madelaine, Richard(1998) Hall, Peter(1993) Findlater, Richard(1956) David, Richard(1952) Byrne, MurielStClare(1957) Shakespeare work andreviewsproductionsforacademicjournals. Hehasperformedin Labour the playinperformanceforrevisedNewPenguineditionof Timon ofAthens guest lecturerfortheRSC.HisIntroductiontoNewPenguineditionof lectured onShakespeareinperformanceattheUniversityofWarwick andasa Ph.D. fromtheShakespeareInstitute,UniversityofBirmingham,andhehas International ShakespeareAssociationsince2003.HereceivedhisMAand Trust, Stratford-upon-Avon. HehasservedastheExecutive Secretaryofthe Nick Walton Williamson, Audrey(1957) Smallwood, Robert(2003) —— —— —— —— Shaw, GlenByam (1946) Rylands, George(1948) —— upon-Avon, 1957 Promptbook Cambridge UniversityPress. (1957) (1953) (1952) (1948) ProductionNotebookfor (1996) ’ s Lost Production NotebookforAsYou LikeIt Production NotebookforAntonyandCleopatra Production NotebookforAsYou LikeIt Design byMotley ’ , Columbia,Miss.:UniversityofMissouriPress. isLecturerinShakespeareStudiesattheBirthplace s playsonstageandscreen. . Nickregularlyinterviewsactorsanddirectorsabouttheir Making anExhibitionofMyself ’ , waspublishedin2005,andhealsocontributedasectionon ‘ Shakespeare intheWaterloo Road ‘ London Productions Production NotebookforAntonyandCleopatra Michael Redgrave:Actor Shakespeare atStratford:AsYou LikeIt Old Vic Drama1947 ‘ Shakespeare inProduction:AntonyandCleopatra Macbeth , Newark,Del.andLondon: ‘ The ShakespeareSeasonattheOldVic, 1956 About theauthor GLEN BYAM SHAW ’ As You LikeIt Onstage:AnAnnotatedFacsimileofGlenByamShaw , 8(3):461 ’ 53 , Shakespeare Survey – 57 , London:Sinclair-Stevenson. , London:Heinemann. , London:Rockliff. . . . – 92. ’ , Shakespeare Survey . , 1:103 , London:Arden. . – 5. – 57 andStratford- , 5:120 , Cambridge: Love – 9. ’ ’ s s