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9781474435949 Shakespeare I Shakespeare in the North 66713_Hansen.indd713_Hansen.indd i 118/01/218/01/21 22:46:46 PPMM 66713_Hansen.indd713_Hansen.indd iiii 118/01/218/01/21 22:46:46 PPMM Shakespeare in the North Place, Politics and Performance in England and Scotland Edited by Adam Hansen 66713_Hansen.indd713_Hansen.indd iiiiii 118/01/218/01/21 22:46:46 PPMM Edinburgh University Press is one of the leading university presses in the UK. We publish academic books and journals in our selected subject areas across the humanities and social sciences, combining cutting-edge scholarship with high editorial and production values to produce academic works of lasting importance. For more information visit our website: edinburghuniversitypress.com © editorial matter and organisation Adam Hansen, 2021 © the chapters their several authors, 2021 Edinburgh University Press Ltd The Tun – Holyrood Road, 12(2f) Jackson’s Entry, Edinburgh EH8 8PJ Typeset in 11/13 Bembo by IDSUK (DataConnection) Ltd, and printed and bound in Great Britain. A CIP record for this book is available from the British Library ISBN 978 1 4744 3592 5 (hardback) ISBN 978 1 4744 3594 9 (webready PDF) ISBN 978 1 4744 3595 6 (epub) The right of Adam Hansen to be identifi ed as the editor of this work has been asserted in accordance with the Copyright, Designs and Patents Act 1988, and the Copyright and Related Rights Regulations 2003 (SI No. 2498). 66713_Hansen.indd713_Hansen.indd iivv 118/01/218/01/21 22:46:46 PPMM Contents Acknowledgements vii Notes on Contributors viii Introduction 1 Adam Hansen I: Shakespeare and the Early Modern North 1. Shakespeare’s Northern Blood: Transfusing Gorboduc into Macbeth and Cymbeline 41 Paul Frazer 2. ‘Here are strangers near at hand’: Anglo-Scottish Border Crossings Pre- and Post-Union 60 Steven Veerapen 3. Shakespeare, King James and the Northern Yorkists 79 Richard Stacey 4. North by Northwest: Shakespeare’s Shifting Frontier 103 Lisa Hopkins II: Performing Shakespeare in the North 5. The People’s Shakespeare: Place, Politics and Performance in a Northern Amateur Theatre 125 Adam Hansen 6. Only Northerners Need Apply? Northern Broadsides and ‘No-nonsense’ Shakespeare 151 Caroline Heaton 66713_Hansen.indd713_Hansen.indd v 118/01/218/01/21 22:46:46 PPMM vi contents 7. Shakespeare and Blackpool: The RSC’s A Midsummer Night’s Dream (2016): A Play for the Nation? 168 Janice Wardle 8. William the Conqueror: The Only Shakescene in a Country 187 Richard Wilson III: Appropriating Shakespeare in the North 9. ‘What is Shakespeare to Manchester’? Shakespearean Engagement in the North at the Turn of the Twentieth Century 219 Monika Smialkowska 10. A Road by Any Other Name: Heaton History Group, a North East Suburb and Shakespeare 244 Chris Jackson 11. Lancastrian Shakespeares: Hamlet and King Lear in North West England (2005–2014) 258 Liz Oakley-Brown 12. Shakespeare’s Cheek: Macbeth, Dunsinane and the Jacobean Condition 276 James Loxley Postscript: News from the North 298 Willy Maley Index 315 66713_Hansen.indd713_Hansen.indd vvii 118/01/218/01/21 22:46:46 PPMM Acknowledgements Many thanks to the editorial team at, and reviewers commissioned by, Edinburgh University Press, all of whom did an amazing job of getting this fi nished. The contributors also deserve great credit for their hard work and patience – I have learned so much from working with you, and am sure others will too. I’d like to thank David Walker, Mel Waters, David Stewart, Joe Street, Andy Feeney, Graham Hall and Monika Smialkowska for their companionship and insight, and Paul Frazer for his, as well as for reminding me of the ‘Irish Question’. Thanking current colleagues emphasises how most of my understanding of Shakespeare was made in the North. This began a long time ago, and I’m sincerely grateful to those who helped shape that understanding: Anna Osborne and Michael Wagner, for their friendship; Tony Greenwood, for the letter, and much else besides; Mr Moorhouse, for The Winter’s Tale, and not knowing all the answers; Mr Cann, for Hamlet; and Mrs Todd, for Macbeth (my fi rst time studying and ‘teaching’ Shakespeare). Everyone involved with Shakespeare Club, at the Lit and Phil and ‘on the road’, warrants profound gratitude, especially Kay Easson, Ann Logan, Bruce Babington, Allan Bage, Tom Harrison, Bee Ward, and Hilary and Kelsey Thornton. Finally, huge and heartfelt thanks to The Crossings Community Group and Band, for helping me think, act, and play beyond borders; Helen and Gary Bate, for Spurn Head; Fay Garratt, Kirsty McNamara and Ted Carden, for the cover; Mila and Lars for taking me to see plays in Bradford and Manchester, for the two-volume Clark and Wright Complete Works, and for their love; Megan Holman, for everything she did; and dearest Angela, Joe, Leon, and Katie, simply for everything. 66713_Hansen.indd713_Hansen.indd vviiii 118/01/218/01/21 22:46:46 PPMM Notes on Contributors Paul Frazer is Senior Lecturer in Early Modern Literature at Northumbria University, Newcastle upon Tyne. His research focuses on Elizabethan and early Jacobean drama, and he has published essays and articles on a range of works by William Shakespeare, Christopher Marlowe, Thomas Dekker and John Webster. Paul co-edited the Bloomsbury critical companion to The White Devil (2016), and is co-editing a new edition of Gorboduc, or The Tragedy of Ferrex and Porrex for Manchester Revels. Adam Hansen is Senior Lecturer in English at Northumbria University. In addition to publishing numerous articles and chapters on early modern culture in its own time and after, he is the author of Shakespeare and Popular Music (2010), and co-editor of Litpop: Writing and Popular Music (2014), Shakespearean Echoes (2015), and The White Devil: A Critical Reader (2016). From 2014–19, he convened the free, monthly, public reading group Shake- speare Club at Newcastle’s Lit and Phil, and at other locations in the North. His next book will be about Marlowe. Caroline Heaton is Senior Lecturer (Research, Evaluation and Student Engagement) at Sheffi eld Hallam University, where she has held posts in course administration, widening participation policy and research, student engagement, and student experience research and evaluation. Between 2014 and 2016, Caroline undertook a Masters by Research in English, for which she reviewed a season of productions at the Royal Shakespeare Company in Stratford-upon-Avon. As a seasoned theatre-goer, Caroline has published many of these reviews in journals such as Shakespeare and Early Modern Literary Studies. Lisa Hopkins is Professor of English at Sheffi eld Hallam University and co-edits Shakespeare (the journal of the British Shakespeare Association), 66713_Hansen.indd713_Hansen.indd vviiiiii 118/01/218/01/21 22:46:46 PPMM notes on contributors ix Marlowe Studies, Arden Early Modern Drama Guides and Arden Studies in Early Modern Drama. She writes mainly on Shakespeare, Marlowe and Ford, but has also published on Jane Austen, Bram Stoker, crime fi ction, and literature on screen. She is currently working on two books, Burial Plots in British Detective Fiction and Early Modern Drama and the Edge of Christendom. Her most recent publication is Greeks and Trojans on the Early Modern English Stage (2020). A Companion to the Cavendishes: Literature, Patronage, Material Culture, which she has co-edited with Tom Rutter, is forthcoming from Arc Humanities Press. Chris Jackson helped found a local history society based in Newcastle upon Tyne, Heaton History Group, in 2013, and has been its secretary ever since. She researches and writes about Heaton’s history for the group’s website: <www.heatonhistorygroup.org> James Loxley is Professor of Early Modern Literature at the Univer- sity of Edinburgh. Among his book publications are Ben Jonson’s Walk to Scotland: An Annotated Edition of the ‘Foot Voyage’, co-edited with Anna Groundwater and Julie Sanders (2015), Shakespeare, Jonson and the Claims of the Performative, co-authored with Mark Robson (2013), Performativity (2007) and Ben Jonson (2001). He has led a number of major research and public engagement projects, including an exhibition on Shakespeare and Scotland at the National Library of Scotland and a digital literary map of Edinburgh, Litlong (<https://litlong.org>). Willy Maley is Professor of Renaissance Studies at the University of Glasgow. He is the author of A Spenser Chronology (1994), Salvaging Spenser: Colonialism, Culture and Identity (1997), and Nation, State and Empire in English Renaissance Literature: Shakespeare to Milton (2003). Among his edited volumes are studies of early modern Irish and British identities, including, with Brendan Bradshaw and Andrew Hadfi eld, Rep- resenting Ireland: Literature and the Origins of Confl ict, 1534–1660 (1993); and with David J. Baker, British Identities and English Renaissance Literature (2002). He has also edited several collections on Shakespeare and national identity, including, with Andrew Murphy, Shakespeare and Scotland (2004); with Philip Schwyzer, Shakespeare and Wales: From the Marches to the Assembly (Ashgate, 2010); with Margaret Tudeau-Clayton, This England, That Shakespeare: New Angles on Englishness and the Bard (2010); and with Rory Loughnane, Celtic Shakespeare: The Bard and the Borderers (2013). He is currently working on a monograph provisionally entitled Mapping Milton: Geography and Empire in Seventeenth-Century Literature. 66713_Hansen.indd713_Hansen.indd iixx 118/01/218/01/21 22:46:46 PPMM x notes on contributors Liz Oakley-Brown teaches and researches pre-modern literature and culture at Lancaster University, UK. Her chapter in this volume is aligned with her interests in the translation and adaptation of sixteenth- and seventeenth-century writing. Monika Smialkowska is Senior Lecturer in Early Modern Literature at Northumbria University. Her current research interest lies in post- renaissance adaptations and appropriations of early modern authors and genres. She has published book chapters and journal articles on the topic, focusing chiefl y on the ways in which the Shakespeare Tercentenary of 1916 was celebrated across the world, and on the ways the North East of England participated in the 2012 World Shakespeare Festival.
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