Appendix Casts, Production Teams and Opening Dates of Productions Discussed
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Appendix Casts, Production Teams and Opening Dates of Productions Discussed I. Hamlet, by William Shakespeare. Royal Shakespeare Company. Opening performance: Royal Shakespeare Theatre, Stratford-upon-Avon, 5 September 1984 Main production team: Director Ron Daniels Designer Maria Bjornson Main cast (in alphabetical order): Ophelia Frances Barber Claudius Brian Blessed Laertes Kenneth Branagh Horatio Nicholas Farrell Player 2 (Player Queen) Dexter Fletcher Player 1 (Player King) Bernard Horsfall Gertrude Virginia McKenna Polonius Frank Middlemass Hamlet Roger Rees II. The Duchess of Malfi, by John Webster. Royal Shakespeare Company. Opening performance: Swan Theatre, Stratford-upon-Avon, 6 December 1989 Main production team: Director Bill Alexander Designer Fotini Dimou 201 202 Appendix Main cast (in alphabetical order): Duke Ferdinand Bruce Alexander The Cardinal Russell Dixon Cariola Sally Edwards Antonio Bologna Mick Ford Julia Patricia Kerrigan Daniel de Bosola Nigel Terry The Duchess of Malfi Harriet Walter III. The Duchess of Malfi, by John Webster. Cheek By Jowl. Opening performances: Bury St. Edmunds, 19 September 1995 Wyndham’s Theatre, London, 2 January 1996 Main production team: Director Declan Donnellan Designer Nick Ormerod Main cast (in alphabetical order): Daniel de Bosola George Anton The Cardinal Paul Brennen Cariola Avril Clark Duke Ferdinand Scott Handy The Duchess of Malfi Anastasia Hille Antonio Bologna Matthew Macfadyen Julia Nicola Redmond IV. Titus, based on Titus Andronicus, by William Shakespeare. Motion Picture. Opened (United States): 11 February 2000 (General Release) Main production team: Director Julie Taymor Producers Conchita Airoldi Jody Patton Director of Photography Luciano Tovoli Editing Françoise Bonnot Production Design Dante Ferretti Costume Design Milena Canonero Music Elliot Goldenthal Appendix 203 Main cast (in alphabetical order): Saturninus Alan Cumming Lavinia Laura Fraser Titus Andronicus Anthony Hopkins Young Lucius Osheen Jones Tamora Jessica Lange Aaron Harry Lennix Chiron Jonathan Rhys Meyers Demetrius Matthew Rhys V. Edward II, by Christopher Marlowe. Motion Picture. Opened (United Kingdom): 15 October 1991 Main production team: Director Derek Jarman Producer Steve Clark-Hall Director of Photography Ian Wilson Editing George Ankers Production Design Christopher Hobbs Costume Design Sandy Powell Main cast (in alphabetical order): Lightborn Kevin Collins Prince Edward/Edward III Jody Garber Spencer John Lynch Queen Isabella Tilda Swinton Mortimer Nigel Terry Piers Gaveston Andrew Tiernan King Edward II Steven Waddington IV. The Broken Heart, by John Ford. Royal Shakespeare Company. Opening performance: Swan Theatre, Stratford-upon-Avon, 19 October 1994 Main production team: Director Michael Boyd Designer Tom Piper 204 Appendix Main cast (in alphabetical order): Ithocles Robert Bowman Crotolon Tony Britton Philema Julia Crane Penthea Emma Fielding Orgilus Iain Glen Prophilus William Houston Euphrania Elaine Pyke Christalla Fiona Tong Bassanes Philip Voss Calantha Olivia Williams V. A Woman Killed with Kindness, by Thomas Heywood. Royal Shakespeare Company. Opening performance: The Other Place, Stratford-upon-Avon, 29 October 1991 Main production team: Director Katie Mitchell Designer Vicki Mortimer Main cast (in alphabetical order): Sir Charles Mountford Jonathan Cullen Susan Mountford Sylvestra le Touzel Wendoll Barry Lynch John Frankford Michael Maloney Nick Sean Murray Sir Francis Acton Valentine Pelka Anne Frankford Saskia Reeves Jenkin Kenn Sabberton VI. Hamlet, by William Shakespeare. Young Vic Theatre in Association with the Theatre Royal, Plymouth. Opening performance: Young Vic Theatre, London, 7 April 1999 Main production team: Director Laurence Boswell Designer Es Devlin Appendix 205 Main cast (in alphabetical order): Gertrude Suzanne Bertish Laertes Christopher Bowen Ophelia Megan Dodds Horatio Richard Lintern Hamlet Paul Rhys Polonius Robin Soans Claudius/The Ghost Donald Sumpter Notes Introduction: The Destined Livery? Tragedy, Performance, Subject and Spectator 1. Although these two terms can convey distinct and historically specific meanings (Escolme 12), I use them interchangeably in this study, for, as Patrice Pavis notes, both indicate ‘a shared desire to represent and imitate reality onstage as faithfully as possible,’ and in both ‘acting makes the text appear natural, downplaying literary and rhetorical effects, by stressing its spontaneous and psychological aspects’ (Dictionary 302). 1 What we are, but not what we may be: the feminist Ophelia and the (Re)production of gender 1. William Shakespeare, Hamlet, ed. T.J.B. Spencer (Harmondsworth: Penguin Books, 1980): Act 3, Scene 1, line 89. All further references to the playtext will be to this edition. 2 An actor in the main of all: individual and relational selves in The Duchess of Malfi 1. John Webster, The Duchess of Malfi, ed. John Russell Brown (London: Methuen, 1964): Act IV, Scene ii, line 264. All further references to the play- text will be to this edition. 2. The other productions in question are: Adrian Noble’s celebrated 1980 produc- tion at the Royal Exchange, Manchester, with Helen Mirren as the Duchess, Bob Hoskins as Bosola and Mike Gwilym as Ferdinand; Philip Prowse’s 1985 staging for the National Theatre, in which Eleanor Bron played the Duchess, Ian McKellen played Bosola and Jonathan Hyde played Ferdinand; and the 1995 Greenwich Theatre production later seen at Wyndham’s Theatre, directed by Philip Franks and starring Juliet Stevenson as the Duchess, Robert Glenister as Bosola and Simon Russell Beale as Ferdinand. None of these productions are easily viewable on archive video; in order to keep an equal methodological relationship to all the productions I discuss, I have focused on Alexander’s and Donnellan’s productions, which are available in this format. 3. In the performance recorded by the archival video in the Theatre Museum, London, she retained her long evening gloves and a pair of French knickers. 206 Notes 207 3 The natural father and the imaginary daughter: patriarchy as realism and representation in Titus 1. William Shakespeare, Titus Andronicus, ed. Jonathan Bate (Arden Shakespeare; London and New York: Routledge, 1995): Act 1, Scene 1, Line 116. All further references to the playtext will be to this edition. 4 ‘Let Me Forget Myself’: what a queen is good for in Edward II 1. Referred to in the notes hereafter as QEII, while Marlowe’s Edward II is referred to as EII. I use this citation format in order to make the relationship between the two texts as clear as possible. 2. The lines, somewhat modified, are taken from Marlowe’s Edward II, Scene xvii, lines 10–14: ‘And Edward, thou art one among them all, / Whose looseness hath betrayed thy land to spoil / And made the channels overflow with blood. / Of thine own people patron shouldst thou be, / But thou –.’ All citations from Marlowe’s Edward II in this chapter are taken from the edition by Martin Wiggins and Robert Lindsey (London:A&CBlack, 1997). 5 Death and the married maiden: gender reproduction as destruction in The Broken Heart 1. John Ford, The Broken Heart, ed. T.J.B. Spencer (Manchester: Manchester UP, 1980): Act 3, Scene 5, lines 74–79. All further references to the playtext will be to this edition. 6 Tricked like a bride: a new traffic in A Woman Killed with Kindness 1. Thomas Heywood, A Woman Killed with Kindness, ed. Brian Scobie (London: New Mermaids, 1985): Prologue, lines 3–4. All further references to the play- text will be to this edition. 2. I would like to thank Dr Martin Wiggins and the late Doreen Brockbank for having brought this sensory aspect of the experience of Mitchell’s production to my attention. 3. This is Q1 (1607); the 1617 quarto reads, ‘my mistress is a ——’ 4. The badge is dimly visible on Frankford’s (Michael Maloney’s) breast in Figure 8; other production photos, which could not be reproduced here for copyright reasons, display it more clearly. Bibliography I. Archival materials consulted by production Hamlet, by William Shakespeare. Directed by Ron Daniels, RSC, Royal Shakespeare Theatre, 1984. Archival video recording, prompt-book, production photographs held by the Shakespeare Centre, Shakespeare Birthplace Trust, Stratford-upon-Avon. The Duchess of Malfi, by John Webster. Directed by Bill Alexander, RSC, Swan Theatre, Stratford-upon-Avon, 1989. Archival video recording, prompt-book, production photographs held by the Shakespeare Centre, Shakespeare Birthplace Trust, Stratford-upon-Avon. The Duchess of Malfi, by John Webster. Directed by Declan Donnellan, Cheek By Jowl, Touring and Wyndham’s Theatre, London, 1995–96. Archival video recording held by the Theatre Museum (Covent Garden), Victoria and Albert Museum, London. Edward II, by Christopher Marlowe. Motion Picture. Directed by Derek Jarman, Miramax, 1991. Video recording, publicity material, costume and set designs, shooting script and film stills held by the British Film Institute, London. The Broken Heart, by John Ford. Directed by Michael Boyd, RSC, Swan Theatre, Stratford-upon-Avon, 1994. Archival video recording, prompt-book, production photographs held by the Shakespeare Centre, Shakespeare Birthplace Trust, Stratford-upon-Avon. A Woman Killed with Kindness, by Thomas Heywood. Directed by Katie Mitchell, RSC, The Other Place, Stratford-upon-Avon, 1991. Archival video recording, prompt-book, production photographs held by the Shakespeare Centre, Shakespeare Birthplace Trust, Stratford-upon-Avon. II. Reviews cited by production