Notes
1 Popular Shakespeares
1. Readers might take a look at Graham Holderness’s excellent Cultural Shakespeare: Essays in the Shakespeare Myth (2001) for insightful analyses of some of the various cultural uses to which the name ‘Shakespeare’ is put. 2. Would be, and indeed is. I direct the reader towards, for example, Levine (1991) and Bristol (1990, 1996). 3. This is certainly the argument put forward by Pierre Bourdieu in Distinction: A Social Critique of the Judgement of Taste. Here, Bourdieu distinguishes between the ‘pure gaze’ associated with high art, which looks in an abstract manner for the access the artwork provides to ‘universal truths’, and the ‘popular aesthetic’, which approaches the artwork in a manner no different from other areas of everyday life (1984: 4). In his attempt to define popular theatre, David Mayer similarly constructs a binary opposition between the ‘aesthetic’ and the ‘popular’ (1977: 257–77). 4. Alan Sinfield suggests that within two years, Peter Hall’s desire to appeal to a ‘popular’ audience became ‘refocused entirely in terms of the “the young” and particularly those in higher education’ (Sinfield 2000: 179). 5. ‘Talking Theatre’, The Tempest: Mark Rylance, Shakespeare’s Globe, 31 August 2005. 6. See Bennett (1990: 163–4); Elam (2005: 86–7); Ubersfeld (1981: 306). 7. S. L. Bethell (1977: 29) and Peter Davison (1982a: 1–11) put forward similar arguments. 8. Ronald Knowles makes a similar argument (1998: 36–60). For a more detailed discussion of Shakespeare and Carnival, see Bristol 1985. 9. In a book on stand-up comedians, Oliver Double writes of a similar ‘per- sonality spectrum’ from ‘character comedians’ to the ‘naked human being’ (2005: 73–6). Double notes that ‘the concept of a continuous spectrum from character to naked self, however, does not really capture the subtle inter- weaving of truth and fiction in the onstage identities of stand-up comedians’ (2005: 77). 10. Indeed, Weimann himself has described Brecht as ‘a fundamental inspira- tion’ for his theory (Guntner et al. 1989: 231). 11. This could, it should be noted, be a misrepresentation of Brook. His com- ments on Shakespeare’s plays frequently tread an ambiguous line between, on the one hand, claims for his universality, and on the other, suggestions of a potential for reinvention. His comments on Hamlet might be an example: Hamlet is inexhaustible, limitless. Each decade brings with it new explana- tions, fresh interpretations. Yet Hamlet remains intact, a fascinating enigma. Hamlet is like a crystal ball, ever rotating. At each instant, it turns a new facet towards us and suddenly we seem to see the whole play more clearly. (Brook 2001)
225
226 Notes
2 Text and Metatext: Shakespeare and Anachronism
1. One might compare S. L. Bethell’s analysis: ‘Shakespeare, then, in the ortho- dox line of Tudor political philosophy, brings history into active relationship with contemporary life; he does not immerse himself in the past, but con- templates the past in the light of his own times’ (1977: 51). On anachronism, Bethell comments: ‘The co-presence of such contrasting elements renders doubly impossible any illusion of actuality; once again, the audience must necessarily remain critically alert, whilst at the same time the historical element gives current significance to an historical situation’ (1977: 49). 2. This is not, it should be noted, to make a claim for a continuous tradition of anachronism in popular culture: anachronism in medieval and Renaissance drama was a product of that era’s evolving concept of history, and made use of the tension between popular oral histories and official written ones. Rackin highlights the importance of the growing number of printed histories which emerged during the Renaissance – when histories were disseminated orally, anachronisms had been far more common (Rackin 1991: 234). 3. Virgidemiarum II, Liber I, Satire iii, 1597 (cited Gurr 2002: 219–20). 4. The Defence of Poesie, 1595 (The Prose Works of Sir Philip Sidney, ed. Albert Feuillerat, Cambridge, 1912, 3: 39). 5. Wilkinson, T. (1790) Memoirs of His Own Life, York, 4: 111 (cited Fisher 2003: 63). 6. Self-described ‘iambic fundamentalist’ Peter Hall, for example, argues: These are difficult times for the classical actor because there is little technical consistency. I have worked in a theatre where the director before me urged the actors to run on from one line to the next, speak the text like prose, and to take breaths whenever they felt like it. He wanted them, he said, to be ‘real’. They were; but they weren’t comprehensible. (2003: 11) 7. This story is related more fully in Maher 1992: 41. Conkie records that when Rylance’s Hamlet asked the same questions at the Globe in 2000, he deliberately solicited audience responses, repeating the question until it was answered. He apparently received both negative and affirmative answers, alter- ing his playing of the speech which followed accordingly (Conkie 2006: 38). 8. A different version of the same article also appeared in the Old Vic pro- gramme for Richard II under the heading, ‘Shakespeare Our Contemporary’. 9. Wesker levels a similar charge at Trevor Nunn’s 1999 production in an open letter on his website (Wesker 1999).
3 ‘A Play Extempore’: Interpolation, Improvisation, and Unofficial Speech
1. See, for example, Bartlett’s Familiar Quotations (1961, 13th edn., London: Macmillan) or The Oxford Dictionary of Quotations (1979, 3rd edn., OUP). 2. I. C. Media Productions, The Wisdom of Shakespeare in As You Like It (1998), The Wisdom of Shakespeare in The Merchant of Venice (1998), The Wisdom of Notes 227
Shakespeare in Julius Caesar (1999), The Wisdom of Shakespeare in The Tempest (2000), and The Wisdom of Shakespeare in Twelfth Night (2002). For Dawkins’ influence on Rylance’s practice, see Peterson 2005. 3. This process is detailed in, for example, Taylor (1990), Levine (1991), Lanier (2002: 21–49), and Henderson (2007). 4. See K. M. Lea’s discussion of this in Italian Popular Comedy (1934), New York: Russell & Russell, vol. II, 381. 5. The scenes featuring these characters are most accurately rendered; see Davies 2001: 179. 6. Wiles’s version omits the line ‘and, my coate wants a cullison’, so I have rein- stated it, following the pattern of Wiles’s punctuation for the other lines. 7. Duthie objects to this theory on the grounds that ‘allowing a Shakespearean cancellation here, he has nevertheless retained part of the attack upon the clown – he has retained the complaint about improvisation’ (1941: 235). 8. To back up this point, Davison quotes Cleopatra, who feared that ‘the quick comedians / Extemporally will stage us’ (Anthony and Cleopatra, 5.2.212–3). As we saw in Chapter 2, however, the latter passage, much like the Hamlet speech, can be understood as a disjunctive anachronism: in other words, as a deliberate joke. 9. In a sequence reminiscent of Malvolio’s gulling, Tarlton conveys one of his drunken fellow actors to a jail; upon waking, the drunkard is teased with moans ‘that one so young should come to so shamefull a death as hanging’ (Halliwell 1844: 31). Tarlton also deceives a madman who wishes to cut off his head (1844: 32); he gets out of paying an innkeeper at Sandwich by giving the impression that he is a Catholic priest (1844: 36–7). Very often, like Touchstone’s escapades in the Forest of Arden, Tarlton’s adventures take the form of the worldly entertainer from the city deceiving simple country folk: in ‘How Tarlton frightened a country fellow’, for example, Tarlton terrifies a ‘simple country fellow in an alehouse’ with an accusation of trea- son (Halliwell 1844:17); in another anecdote, he wriggles out of marrying a ‘country wench’ very reminiscent of As You Like It’s Audrey (1844: 33). Tarlton also becomes a Falstaff-like gull figure himself, being led into a trap, for example, by the promise of sex (1844: 39). 10. To support this claim, Rackin cites Sir Philip Sidney’s remark in The Defence of Poesy that ‘verse far exceeds prose in the knitting up of the memory’ (1991: 238). 11. More official than it has any reason to be, one might argue, given the dis- puted authority of many of the texts. 12. Gary Taylor relates an anecdote of a scene improvised by comedians John Monteith and Suzanne Rand ‘as if written by Shakespeare’: The result was screamingly funny, but I did not hear a single quotation from Shakespeare; his style was suggested, instead, by acrobatic contortions of grammar, the occasional ‘alas,’ odd ‘doth,’ and frequent ‘thee,’ incongruous mixtures of orotund polysyllables and street slang, and a singsong approxi- mation of blank verse. (1999: 203) 13. Actors from Campbell’s continuing collaborators The Sticking Place formed Shall We Shog?’s London team. The Newcastle team are otherwise known as 228 Notes
The Suggestibles, an improvisation troupe who perform together regularly in their home town. The Liverpool team, meanwhile, were the winners of an event called Farting Around in Disguises which took place under Campbell’s direction at the Liverpool Everyman in 2004; their team was called The Cottonwool Sandwiches. Shall We Shog? also featured much the same line- up of teams as Clash of the Frightened, a similar (though not Shakespeare- themed) event staged by Campbell in Liverpool in January 2005. 14. In an article for the New Statesman on the subject (which was, it should be noted, written following a radio discussion presented by Campbell), Michael Coveney quotes a ‘nub’ attributed to the early twentieth-century actor-manager Donald Wolfit: List, I sense a nubbing in far glens, where minnows swoop the pikey deep which is unpiked less pikey be, cross-bolted in their crispy muffs and choose the trammelled way. … O freeze my soul in fitful sleep lest wind-filled sprites bequim the air and take us singly or in threes in mad agog or lumpsome nub, aghast to Milford Haven. (Coveney 2005) 15. When Brook writes about the Pompey and Barnadine scenes in Measure for Measure, he argues: To execute Shakespeare’s intentions we must animate all this stretch of the play, not as fantasy, but as the roughest comedy we can make. We need com- plete freedom, rich improvisation, no holding back, no false respect – and at the same time we must take great care, for all round the popular scenes are great areas of the play that clumsiness can destroy. (1990: 99) It is notable that Brook characterises this as a direct execution of ‘Shakespeare’s intentions’. 16. It is perhaps significant that like several other Globe performers, Lennox is also a stand-up comedian. 17. The line provoked a big laugh when I saw it; in a post-show talk, however, the actors noted that when Naiambana had tried this line the day before, it had been met with a frosty silence. 18. In the performance I saw, Garnon succeeded, with a particularly surreal line about Captain Birdseye and fish fingers. Rylance broke out of character, repeated the line very slowly, and after a second audience laugh, concluded, ‘That’s the silliest thing I’ve ever heard.’
4 ‘It’s like a Shakespeare play!’: Parodic Appropriations of Shakespeare
1. It should be noted that the plays of Shakespeare as they were performed dur- ing the Renaissance did not, according to Bakhtin, belong to such a ‘lofty’ and limited genre. Bakhtin makes it clear in his essays on parody and elsewhere that examples of parody’s ‘doubling effect’ can be found quite clearly in the works of Shakespeare (1981: 79), and in this respect his analysis supports Robert Weimann’s contention that Shakespeare’s ‘conjunction of two very different traditions’ drew from popular drama in order to ‘continually Notes 229
undercut the pathos of literary representations by irreverently turning things around and upside down’ (Guntner, Wekwerth & Weimann 1989: 233). Bakhtin and Weimann refer primarily to Shakespeare’s use of Fool and Clown figures, but Shakespeare was not above sustained parody: the plays-within-plays of A Midsummer Night’s Dream and Love’s Labour’s Lost, the archaic bombast of Pistol’s speech, and arguably much of As You Like It’s pastoral lyricism, send up theatrical practices which had become outmoded in his own time. Today, however, Shakespeare can be (and, particularly in pop culture depictions, often is) flattened into just the sort of monologic, culturally authoritative genre which Bakhtin describes as the province of the ‘lofty direct word’. 2. Rose, however, argues that ‘parody may still be said to be “comic” even when its comic aspects are not noticed or understood by a recipient’ (1993: 32). 3. See, for example, Schoch (2002), Wells (1965 and 1977), and Holland (2007). 4. Broadcast on BBC Radio 3 on 27 April 1992, with a cast including Peter Jeffrey, Harriet Walter, and Simon Russell Beale. Pontac’s other Shakespearean paro- dies for Radio 4 include Prince Lear (1994) and Fatal Loins (2001), a Romeo and Juliet pastiche (Greenhalgh 2007: 194). 5. Barton’s two-part television series Word of Mouth had been televised in 1980; his more famous series Playing Shakespeare would follow in 1984. 6. Holderness criticises the BBC Shakespeare series’ ‘remorselessly monumental classicising of both the plays and the concept of British culture into which they were assimilated’ (2001: 13). The sketch might be seen as a similar criticism through parody. 7. Drakakis notes that Morecambe and Wise’s Antony and Cleopatra parody similarly sends up Marlon Brando’s performance in the Joseph Mankiewicz film of 1953 (1997: 168). 8. The episode is discussed in further detail in Lanier (2002: 106–7). 9. Robey was a notable Shakespeare enthusiast, claiming he kept a copy of Hamlet with him at all times (Harding 1990: 155), and in 1935 he made headlines when Sydney Carroll cast him as Falstaff in 1 Henry IV at His Majesty’s Theatre (he would later play the dying Falstaff in Olivier’s film of Henry V). For more on Shakespeare and music hall, see Davison 1982a and 1982b. 10. Bergson felt it was the function of laughter to correct (by humiliation) social ‘inelasticity’. 11. And, perhaps, in the way in which it broke its own rules. Most widely reported in reviews was the distinctly non-Shakespearean line, ‘Thou wast merely commanded to blast the bloody portals off!’ 12. ‘Excellent’, it should be noted for the uninitiated, is Mr Burns’ catchword on The Simpsons. 13. Something similar has since been done on The Simpsons itself (though without as much direct incorporation of Shakespearean language): the 2002 episode ‘Tales from the Public Domain’ featured a retelling of Hamlet in which the play’s roles were portrayed by Simpsons characters. Shakespeare’s characters were adapted in order to overlap with the personae of the series: Marge’s Gertrude, for example (‘Hamlet, what’d I tell ya about running with swords?’), or Homer’s Ghost (‘Yes, I have returned from the dead!’ ‘Looks 230 Notes
like you’ve returned from the buffet …’). When Shakespeare’s language was appropriated, it was done in a more cynical manner:
HAMLET (BART). Methinks the play’s the thing, Wherein I’ll catch the conscience of the King!
CLAUDIUS (MOE). ‘Catch my conscience?’ What?
HAMLET. You’re not supposed to hear me! That’s a soliloquy!
CLAUDIUS. OK, well, I’ll do a soliloquy too. (clears throat) ‘Note to self: kill that kid.’
14. There is a strong historical precedent for such appropriation: illegitimate ‘drolls’ like Robert Cox’s The Merry Conceited Humours of Bottom the Weaver (published in Francis Kirkman’s anthology The Wits: or, Sport upon Sport in 1662) were performed in fairground booths and taverns during the Interregnum and afterwards, borrowing freely from Shakespeare’s clowning scenes in order to construct shorter, popular entertainments. 15. The sketch was also broadcast on television on The Music Box, 1 February 1957. 16. A similar mockery of academia permeates the published script, with its many footnotes by the fictional ‘Professor J. M. Winfield’. 17. A further example can be found in Die Rundköpfe und die Spitzköpfe. Isabella – the equivalent of her namesake in Measure for Measure – arranges for a work- ing-class prostitute to replace her in Angelo’s bed; the prostitute is subse- quently beaten up. Though this does not directly follow the plot of Measure for Measure, it does perhaps (as Margot Heinemann suggests) expose the ‘very nasty underworld of sexual and commercial exploitation of inferiors’ which underpins Shakespeare’s play: Mariana, trapped by her own poverty, is forced to stand in for Isabella in what is arguably a similar manner (Heinemann 1992: 220). For more on Brecht's Shakespearean adaptations, see Cohn 1976. 18. Such arguments owe much to studies such as, for example, Emrys Jones’ Scenic Form in Shakespeare (1971). Here, Jones argues that Shakespeare cre- ates a ‘structure, an occasion – which may be said to be (however dangerous the phrase) independent of the words which are usually thought to give the scene its realisation’ (1971: 3). 19. A similar debate was prompted on the same forum by Cheek by Jowl’s international tour of Twelfth Night, which was performed by its Russian cast in their native language. Terence Hawkes articulated objections to both Synetic Theater and Cheek by Jowl’s productions on the grounds that the cultural transcendence they implied for Shakespeare was in fact a form of Anglophone cultural imperialism (Hawkes 2007; Galbi, Manger, Drakakis et al. 2007). 20. Peter, as the reader might recall from Chapter 2, made a similar analysis of Vesturport’s Romeo and Juliet, describing it as ‘a spoof, a romp, a game, even a loving homage. It is hugely enjoyable, but one thing it isn’t is Shakespeare’ (Sunday Times, 12 October 2003). 21. The production was broadcast on 24 June 1987, on the PBS show Live From Lincoln Center, and my transcriptions are drawn from a recording of this transmission. Notes 231
22. The troupe’s very name, in fact – referencing and transforming the title of a novel by Dostoyevsky – indicates a decidedly carnivalesque attitude towards the established literary canon. 23. Indeed, the irreverent, circus-themed Romeo and Juliet by Vesturport discussed both in Chapter 2 and in the Personal Narrative strand might be seen as this production’s most direct successor. 24. The same description has been frequently applied to Baz Luhrmann’s film Romeo + Juliet and various other ‘Shakespop’ films (such as those men- tioned above), and has also been used in press discussions of the Reduced Shakespeare Company, BBC3’s From Bard to Verse, and Propeller’s produc- tion of Rose Rage, among others. Toby Young, who wrote The Spectator’s review of Bomb-itty, has used the analogy before himself, in his review of the New York Shakespeare Festival’s 1995 production of The Tempest.
5 Shakespeare’s Popular Audience: Reconstructions and Deconstructions
1. Brown articulates something similar in New Sites For Shakespeare (1999: 95). 2. ‘Talking Theatre’, Romeo and Juliet: Callum Coates (Paris) and Simon Müller (Tybalt), Shakespeare’s Globe, 11 August 2004. During this talk, Coates and Müller revealed that Tim Carroll had directed the play without an explicit ‘concept’, and that apart from entrances and exits, fights, crowd scenes, and dances, blocking was not fixed: the playing of a scene, they said, would change from performance to performance. In early rehearsals, apparently, they had followed the ‘Original Shakespeare Company’ policy of working from Cue Scripts (Coates himself has acted with the OSC). 3. Bharucha’s discussion is of Brook’s Mahabharata, but similar criticisms apply to most of Brook’s cultural borrowings from India. 4. I borrow this word from Graham Holderness. Writing in 1992, Holderness suggested that such mythologising tendencies – Rylance’s interests appar- ently included Rosicrucianism, Freemasonry, ley lines, the phases of the moon, and sacred sites – implied that the Globe was, for the time being, unlikely to provide ‘an unillusioned grasp of history’ (2001: 102, 103). 5. In a presentation on the Elizabethan public playhouses by first-year under- graduates at the University of Kent, one student pointed out, as an aside, ‘where the Queen would have sat’. When I questioned her as to her source for this dubious information, she rather sheepishly admitted it was Shakespeare in Love. 6. Shakespeare in Love does not, it should be noted, depict the Globe, but rather the Rose and the Curtain theatres. 7. The ideological implications of the sequence are even clearer in Davies’ description: The Globe sequence covers a broad range of society as audience, from aristo- crats to rowdy groundlings. … There is a vigorous if rough-hewn camarade- rie about the totality of the theatrical experience which mirrors that required of troops and generals in a war. (2000: 168–9) 232 Notes
8. Indeed, Madden indicates an allegiance to a ‘shared experience’ style theatre on the commentary track: Played in broad daylight, the audience could see every other member of the audience – could often see the actors waiting to come onstage – but the active imagination they brought to it to create the world that was being described makes their belief even more powerful. 9. A through line of references to J. K. Rowling’s Harry Potter series also plays with the postmodern collapsing of barriers separating elite and popular lit- erary forms: Shakespeare eventually defeats the Carrionites with the Potter spell ‘Expelliarmus!’. 10. In addition to the films by Branagh and O’Haver discussed here, Burnett considers James Callis and Nick Cohen’s Beginner’s Luck (2001), and Roger Goldby’s Indian Dream (2003), which revolve around performances of The Tempest and A Midsummer Night’s Dream respectively. 11. Dead Poets Society, in fact, makes use of similar standing ovations elsewhere in the film. 12. I am indebted to Miles Gregory for his analysis of this sequence in his unpublished conference paper, ‘“A Tale Told by a Moron”: Shakespearean appropriation and cultural politics in Kevin Costner’s The Postman’. 13. Willis notes, however, that the theme park’s potentially progressive ‘activa- tion’ of the passive spectator can be (as in the case of Disneyland) ‘foreclosed by the way the amusement park is not conceived as a site of production but is felt instead to be a commodity itself’ (1991: 16). For a more critical account of the ‘theme park’ aspects of Globe spectatorship, see Henderson (2002). 14. Semiotic analysis of theatre tends to focus on the signifying process that goes on between actor and spectator; the signifying channels between spectator and spectator are often neglected. Elam, for example, touches upon this only in one paragraph of The Semiotics of Theatre and Drama (2005: 87).
6 Shakespeare, Space, and the ‘Popular’
1. Bharata’s Natya Shastra states that theatres should be no bigger than 64 hastas long and 32 hastas wide; Edström tells us that 32 hastas is slightly less than 20 metres (1990: 11). 66 feet (20.1m) was considered ‘intimate’ by the designers of Chichester Festival Theatre (‘the length of a cricket pitch’, points out Mackintosh), while Laurence Olivier felt that 65 feet (19.8m) was the maximum acceptable distance between audience and performer (Mackintosh 1993: 106). Cheek By Jowl’s designer Nick Ormerod suspects that the ‘magic figure’ is 21m (68.9 feet; Mulryne & Shewring 1995: 104), while Pauline Kiernan points out that the furthest distance between a mem- ber of the audience and the centre of the stage at the new Globe is about 50 feet (15.2m; Kiernan 1999: 19). It may be worth mentioning that the Driving Standards Agency specifies 20m (65.6 feet) as the minimum distance at which drivers should be able to make out number plates. 2. For some detailed accounts of the Elizabethan stage, see Foakes (1985), Gurr (1980), Hodges (1968), or, of course, Chambers (1923). For a brief overview, see Hosley (1971). Notes 233
3. Indeed, Sir Alexander Wengrave’s first long speech in Middleton’s The Roaring Girl (from which the quotation on the previous page was taken) is surely another example of such delivery (1.1.131–53). 4. See Schoch (2002), Wells (1965), Holland (2007), and Lanier (2002: 21–49). 5. Of course, some will disagree. Mackintosh, a great champion of Victorian theatres, argues that the texts enable interaction with the upper galleries in the manner of a music-hall comedian, since ‘Shakespeare offers opportuni- ties for asides to the underprivileged wherever they are sitting’. He cites Ian McKellen’s performance as Richard III in the National Theatre’s famous production as one which owed a debt to McKellen’s childhood experiences of variety theatre (1993: 136). 6. It was only after the proliferation of the mass media that ‘legitimate’ theatre, no longer the most cost-effective means of distributing mimetic art, began to reclaim a counter-cultural position and to adopt formations which recap- tured something of the lost thrust stage. It is significant that all but a few of the most emphatically ‘commercial’ theatre productions of recent years have retained the picture-frame stage. 7. The productions and issues raised in this paragraph are discussed in further detail in my article ‘A Shared Experience: Shakespeare and Popular Theatre’ (2005). 8. After Joseph’s death in 1967, the theatre was taken over by Alan Ayckbourn and moved to new premises in the former Scarborough Boys’ High School in 1976, and then the former Odeon cinema building in 1988. 9. The number of Shakespearean plays (and indeed Renaissance plays in general) featuring swordfights or other physical scuffles is quite striking; I wonder whether the phenomenological effects of proximity to physical danger are today a largely neglected aspect of the way in which we understand the plays to work. It was not unknown, after all, for Elizabethan playgoers to be quite seriously harmed during the course of a play. Mark Rylance describes the ‘phys- ical activeness of the body whether standing or seated on a bench at the Globe’ as a ‘quite different state for the heart and mind’, leading to ‘an awakened and sometimes drenched sense of the physical body’ (Kiernan 1999: 132). 10. The Globe experience is not as fully ‘authentic’ as it could be in its actor/ audience relationship, either – the stage door is distinctly modern and removed from sight. 11. And indeed such a claim could also be made for ‘natural’ open-air spaces. ‘Nature’ itself, suggests Lefebvre, ‘as apprehended in social life by the sense organs, has been modified and therefore in a sense produced’ (1991: 68). Aldous Huxley’s novel Brave New World gives an indication as to the ways in which nature might be ‘produced’ differently in an altogether different society.
7 Shakespearean ‘Samples’
1. Shaughnessy describes the performance in detail on pages 189–93 (2002). 2. Hot Fuzz, it should be noted, is itself a pastiche of the action film genre, filled with intertextual filmic references. Bibliography
Books, articles and interviews
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Holland, P. (1997) English Shakespeares: Shakespeare on the English Stage on the 1990s, Cambridge: Cambridge University Press. Holland, P. (2007) ‘Shakespeare abbreviated’ in Shaughnessy 2007: 26–45. Holmberg, A. (1983) review of The Comedy of Errors, Performing Arts Journal, vol. 7, no. 2, 52–5. Homan, S. (1989) The Audience as Actor and Character, Lewisburg: Bucknell University Press. Hosley, R. (1971) ‘The Playhouses and the Stage’ in K. Muir & S. Schoenbaum (eds) A New Companion To Shakespeare, Cambridge: Cambridge University Press, 15–34. Howerd, F. (1977) On the Way I Lost It, London: Star. Hutcheon, L. (1985) A Theory of Parody: The Teachings of Twentieth-Century Art Forms, New York & London: Methuen. Huxley, A. (2004) Brave New World, London: Vintage. iO Theater (2007) ‘The Improvised Shakespeare Company’ webpage,
Lan, D. (2005) Interview with David Lan in the As You Like It programme, London: Wyndham’s Theatre. Lanier, D. (2002) Shakespeare and Modern Popular Culture, Oxford: Oxford University Press. Lanier, D. (2003) ‘Nostalgia and theatricality: The fate of the Shakespearean stage in the Midsummer Night’s Dreams of Hoffman, Noble, and Edzard’, in Burt & Boose 2003: 154–72. Lea, K. M. (1934) Italian Popular Comedy, New York: Russell & Russell, vol. II. Lefebvre, H. (1991) The Production of Space, trans. Donald Nicholson-Smith, Oxford: Basil Blackwell. Levine, L. W. (1991) ‘William Shakespeare and the American People: A Study in Cultural Transformation’ in Chandra Mukerji and Michael Schudson (eds) Rethinking Popular Culture, Berkeley: University of California Press. Longhurst, D. (1988) ‘“You Base Football Player!”: Shakespeare and Contemporary Popular Culture’ in Graham Holderness (ed.) The Shakespeare Myth, Manchester: Manchester University Press. Luscombe, C. & McKee, M. (1994) (eds) The Shakespeare Revue, London: Nick Hern Books. McAuley, G. (2000) Space in Performance: Making Meaning in the Theatre, Ann Arbor: University of Michigan Press. McConachie, B. A. (1998) ‘Approaching the “Structure of Feeling” in Grassroots Theatre’, Theatre Topics 8: 1, March, 33–53. McGrath, J. (1974) The Cheviot, the Stag, and the Black, Black Oil, London: Methuen. McGrath, J. (1996) A Good Night Out: Popular Theatre: Audience, Class and Form, London: Nick Hern Books Mackintosh, I. (1993) Architecture, Actor & Audience, London: Routledge. MacHomer (2007) ‘Class bookings’ webpage,
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Theatre productions
Aladdin (2004/5), dir. Sean Mathias, London: Old Vic Theatre. As You Like It (1998), dir. Lucy Bailey, London: Shakespeare’s Globe Theatre. As You Like It (2003–5), dir. Peter Hall, UK and US tour: Peter Hall Company. As You Like It (2004), dir. Simon Clark, UK tour: Chapterhouse Theatre. As You Like It (2005), dir. David Lan, London: Wyndham’s Theatre. Bill Shakespeare’s Italian Job (2003), dir. Malachi Bogdanov, Edinburgh: Cooperesque Productions Ltd & Gilded Balloon Productions. 244 Bibliography
The Bomb-itty of Errors (2000–), dir. Andy Goldberg, US and international tour: written and performed by Jordan Allen-Dutton, Jason Catalano, G. Q. and Erik Weiner. Bouncy Castle Hamlet (2006), dir. William Seaward, Edinburgh: Strolling Theatricals. The Comedy of Errors (1982), dir. Robert Woodruff, Chicago: Goodman Theater. The Comedy of Errors (1987), dir. Robert Woodruff, New York: Lincoln Center Theater. The Comedy of Errors (1990), dir. Ian Judge, Stratford-upon-Avon and London: Royal Shakespeare Company. The Comedy of Errors (1999), dir. Pete Talbot, UK tour: The Rude Mechanical Theatre Company. The Comedy of Errors (2005), dir. Nancy Meckler, Stratford-upon-Avon and London: Royal Shakespeare Company. The Complete Works of William Shakespeare (abridged) (1987–), created by Jess Borgeson, Adam Long, and Daniel Singer, international: The Reduced Shakespeare Company. London: Criterion Theatre between 1996 and 2005. Coriolanus (1991), dir. Michael Bogdanov, UK and international tour: English Shakespeare Company. Cymbeline (2001), dir. Mike Alfreds, London: Shakespeare’s Globe Theatre. Cymbeline (2007), dir. Emma Rice, UK tour: Kneehigh Theatre. Cymbeline (2007), dir. Declan Donnellan, international tour: Cheek by Jowl. Five Day Lear (1999), dir. Tim Etchells, Sheffield: Forced Entertainment. Hamlet (1965), dir. Peter Hall, Stratford-upon-Avon and London: Royal Shakespeare Company. Hamlet (1980), dir. John Barton, Stratford-upon-Avon and London: Royal Shakespeare Company. Hamlet (2000), dir. Giles Block, London: Shakespeare’s Globe Theatre. Hamlet (2000), dir. Peter Brook, international tour: Young Vic/Bouffes du Nord. Hamlet (2007), dir. Elizabeth LeCompte, New York/international tour: The Wooster Group. The Hamlet Project (2007–), dir. Tim Carroll and Tamara Harvey, London: The Factory. Henry IV Part 1 (2005), dir. Nicholas Hytner, London: National Theatre. Henry IV Part 2 (2005), dir. Nicholas Hytner, London: National Theatre. Henry V (1997), dir. Richard Olivier, London: Shakespeare’s Globe Theatre. Henry VI Part I – The War Against France (2006), dir. Michael Boyd, Stratford-upon- Avon and London: Royal Shakespeare Company. Henry VI Part II – England’s Fall (2006), dir. Michael Boyd, Stratford-upon-Avon and London: Royal Shakespeare Company. Henry VI Part III – The Chaos (2006), dir. Michael Boyd, Stratford-upon-Avon and London: Royal Shakespeare Company. In Pursuit of Cardenio (2006), dir. Ken Campbell, Edinburgh: The Sticking Place: Julius Caesar (2005), dir. David Farr, UK tour: Royal Shakespeare Company. La Didone (2007), dir. Elizabeth LeCompte, New York/international tour: The Wooster Group. The League of Gentlemen (2001), created by Jeremy Dyson, Mark Gatiss, Steve Pemberton, and Reece Shearsmith, London: Theatre Royal, Drury Lane. Macbeth (1998–), dir. Ginger Perkins, Edinburgh: Frantic Redhead Productions. Bibliography 245
Macbeth (1999/2000), dir. Gregory Doran, UK and international tour: Royal Shakespeare Company. Macbeth (2004), dir. Max Stafford-Clark, UK and international tour: Out of Joint. Macbeth (2006), dir. Paata Tsikurishvili, Washington DC/Arlington, Virginia: Synetic Theater. Macbeth Re-Arisen (2006), dir. David Mence, Edinburgh: White Whale Theatre. Macbeth the Panto (2004), dir. Andy Barrow, UK tour: Oddsocks Productions. MacHomer (1996–), created by Rick Miller, international: Wyrd Productions. Measure for Measure (2004/2006), dir. Simon McBurney, London/international tour: Complicite/National Theatre. The Merchant of Venice (1970), dir. Jonathan Miller, London: Old Vic Theatre. The Merchant of Venice (1991), dir. Tim Luscombe, UK and international tour: English Shakespeare Company. The Merchant of Venice (1993), dir. David Thacker, Stratford-upon-Avon and London: Royal Shakespeare Company. The Merchant of Venice (1998), dir. Richard Olivier, London: Shakespeare’s Globe Theatre. A Midsummer Night’s Dream (1970), dir. Peter Brook, international tour: Royal Shakespeare Company. A Midsummer Night’s Dream (1991), created by Footsbarn, international tour: Footsbarn Theatre. A Midsummer Night’s Dream (2002), dir. Mike Alfreds, London: Shakespeare’s Globe Theatre. A Midsummer Night’s Dream (2003), dir. Edward Hall, UK and international tour: Propeller. A Midsummer Night’s Dream (2006), dir. Tim Supple, international tour: Dash Arts in association with The British Council. Much Ado About Nothing (2004), dir. Charlotte Conquest, Canterbury: Creation Theatre. Much Ado About Nothing (2006), dir. Marianne Elliott, Stratford-upon-Avon and London: Royal Shakespeare Company. Othello (2004), dir. Gregory Doran, Stratford-upon-Avon and London: Royal Shakespeare Company. Pericles (2005), dir. Kathryn Hunter, London: Shakespeare’s Globe Theatre. The Pocket Dream (1992), dir. Pip Broughton, Nottingham/London: Nottingham Playhouse/Albery Theatre. Richard II (1995), dir. Deborah Warner, London: National Theatre. Richard II (2005), dir. Trevor Nunn, London: Old Vic Theatre. Richard III (1990), dir. Richard Eyre, international tour: National Theatre. Richard III (1992), dir. Barrie Rutter, Yorkshire: Northern Broadsides. Richard III (2003), dir. Barry Kyle, London: Shakespeare’s Globe Theatre. Romeo and Juliet (2003), dir. Gísli Örn Gardarsson, London: Vesturport/Young Vic. Romeo and Juliet (2004), dir. Tim Carroll, London: Shakespeare’s Globe Theatre. Romeo and Juliet (2006), dir. Steve Purcell, UK tour: The Pantaloons. Shakespeare for Breakfast (2006), dir. Damien Sandys, Edinburgh: C Theatre. The Shakespeare Revue (1994–5), dir. Christopher Luscombe and Malcolm McKee, London: Royal Shakespeare Company. The Shakespeare Sketch (1989), dir. Stephen Fry, London: Sadler’s Wells Theatre. Shall We Shog? (2005), dir. Ken Campbell, London: Shakespeare’s Globe Theatre. 246 Bibliography
The Storm (2005), dir. Tim Carroll, London: Shakespeare’s Globe Theatre. The Taming of the Shrew (2007), dir. Edward Hall, UK and international tour: Propeller. The Tempest (1988), dir. Jonathan Miller, London: Old Vic Theatre. The Tempest (2000), dir. Jonathan Kent, London: Almeida Theatre. The Tempest (2004), dir. Oliver Gray, UK tour: Illyria. The Tempest (2005), dir. Tim Carroll, London: Shakespeare’s Globe Theatre. Titus Andronicus (2006), dir. Lucy Bailey, London: Shakespeare’s Globe Theatre. Titus Andronicus (2006), dir. Yukio Ninagawa, international tour: The Ninagawa Company. Twelfth Night (1971), dir. Anthony Tuckey, Liverpool: Liverpool Playhouse. Twelfth Night (2001), dir. Pete Talbot, UK tour: The Rude Mechanical Theatre Company. The Two Gentlemen of Verona (1996), dir. Jack Shepherd, London: Shakespeare’s Globe Theatre. The Two Gentlemen of Verona (2000), dir. Pete Talbot, UK tour: The Rude Mechanical Theatre Company. The Two Gentlemen of Verona (2005), dir. Fiona Buffini, UK tour: Royal Shakespeare Company. The Wars of the Roses (1963–4), dir. Peter Hall, Stratford-upon-Avon and London: Royal Shakespeare Company. The Winter’s Tale (1992), dir. Annabel Arden and Annie Castledine, international tour: Complicite. The Winter’s Tale (2005), dir. Steve Purcell, UK tour: The Pantaloons. The Winter’s Tale (2006), dir. Paul Burbridge, UK tour: Riding Lights.
Films
10 Things I Hate About You (1999), dir. Gil Junger, United States: Touchstone Pictures. Blackadder: Back and Forth (1999), dir. Paul Weiland, United Kingdom: Millennium Dome/BSkyB/BBC. Clueless (1995), dir. Amy Heckerling, United States: Paramount Pictures. Dead Poets Society (1989), dir. Peter Weir, United States: Touchstone Pictures. Get Over It (2001), dir. Tommy O’Haver, United States: Miramax Films. Hamlet (1965), dir. John Gielgud, United States: Theatrofilm/Warner Bros. Hamlet (1996), dir. Kenneth Branagh, UK/US: Columbia Pictures/Castle Rock Entertainment. Henry V (1944), dir. Laurence Olivier, United Kingdom: Rank Film Distributors. Hot Fuzz (2007), dir. Edgar Wright, United Kingdom: Universal Pictures. In the Bleak Midwinter (1995), dir. Kenneth Branagh, United Kingdom: Castle Rock Entertainment. A Knight’s Tale (2001), dir. Brian Helgeland, United States: Columbia Pictures/ Twentieth Century Fox. Last Action Hero (1993), dir. John McTiernan, United States: Columbia Pictures. Moulin Rouge! (2001), dir. Baz Luhrmann, Australia/US: Twentieth Century Fox. O (2001), dir. Tim Blake Nelson, United States: Lions Gate Films. The Postman (1997), dir. Kevin Costner, United States: Warner Bros. Bibliography 247
Robin Hood: Prince of Thieves (1991), dir. Kevin Reynolds, United States: Warner Bros. Romeo + Juliet (1996), dir. Baz Luhrmann, United States: Twentieth Century Fox. Shakespeare In Love (1998), dir. John Madden, UK/US: Universal Pictures/Miramax Films. She’s the Man (2006), dir. Andy Fickman, United States: DreamWorks. Stage Beauty (2004), dir. Richard Eyre, UK/US: Lions Gate Films. Titus (1999), dir. Julie Taymor, Italy/US: Twentieth Century Fox. True Identity (1991), dir. Charles Lane, United States: Buena Vista Pictures.
Television broadcasts
Around the Beatles (1964), ITV, 6 May. Big Train (1998/2002), BBC Two, 12 episodes. The Black Adder, ‘The Foretelling’ (1983), BBC1, 15 June. Dead Ringers (2002–7), BBC Two, 42 episodes. Doctor Who, ‘The Shakespeare Code’ (2007), BBC One, 7 April. Live From Lincoln Center: The Comedy of Errors (1987), PBS, 24 June. Maid Marian and her Merry Men, ‘They Came From Outer Space’ (1993), BBC1, 28 January. The Mark Thomas Comedy Product (1996–2002), Channel 4, 45 episodes. Monty Python’s Flying Circus (1969–74), BBC1, 45 episodes. ShakespeaRe-Told, ‘A Midsummer Night’s Dream’ (2005), BBC One, 28 November. The Muppet Show, ‘Peter Sellers’ (1978), ITV, 1 January (UK)/CBS, 24 February (US). The Muppet Show, ‘Christopher Reeve’ (1980), ITV/CBS, 7 February. The Music of Lennon and McCartney (1965), ITV, 16 December. The Simpsons, ‘Tales from the Public Domain’ (2002), Fox, 17 March. Whose Line Is It Anyway?, Season 3, Episode 14 (1991), Channel 4, 19 April.
Radio broadcasts
Hamlet Part II (1992), BBC Radio 3, 27 April. Lenny and Will (2006), BBC Radio 4, 25 March.
Audio recordings
All citations from Shakespeare are from the Taylor & Wells edition (1986), Oxford: Clarendon Press. Luscombe, C. & McKee, M. (1995) The Shakespeare Revue (CD), London: Jay Productions Ltd. Newspaper reviews of theatre, television, and film are not listed in the bibliog- raphy: where cited, newspaper and date of publication are listed in the main body of the text. Interviews and other newspaper articles are listed in the bibliography. Sellers, P. (1965) A Hard Day’s Night (7-inch vinyl), London: Parlophone Records. 248 Bibliography
Spellings have been standardised to British. Unless indicated otherwise, quotations from television broadcasts, films, or CDs were transcribed directly from recordings. Williams, R. (1979) Reality … What A Concept (CD), Los Angeles: Laugh.com Comedy Recording Series (reissue). Williams, R. (1983) Throbbing Python of Love (CD), Los Angeles: Laugh.com Comedy Recording Series (reissue). Index
10 Things I Hate About You (film), 135 ‘anthropological’ popular theatre, see 7:84 Theatre, 176 under popular theatre adaptations, Shakespearean, 25, 55, Antony and Cleopatra, 229n 85, 218–9, 230n anachronisms in, 37–40, 46, by Brecht, 25, 120–3 227n critical adaptations, 123–4 Shakespeare’s Globe production, 151 high school Shakespeare appropriations, see adaptations, adaptations, 135–6, 161–2 parody by Marowtiz, 123, 125 Aquinas, Thomas, 182 parodic appropriations, 95–138 Archer, Jeffrey, 59 ShakespeaRe-Told, 211–13 Arcola Theatre, 176 by Wesker, 48, 123 Armin, Robert, 63, 73–5 see also parody Quips upon Questions, 73 aerial performance, 146 and Tarlton, 73 in Boyd’s Henry VI, 57 Armstrong, Gareth, 124 in Hunter’s Pericles, 18, 196 Around the Beatles, 114 in Supple’s A Midsummer Night’s As You Like It, 227n Dream, 173 Chapterhouse production, 202 in Vesturport’s Romeo and Juliet, 54 David Lan production, 50 Aladdin (pantomime), 11, 99–100 locus/platea interplay in, 21 Alfreds, Mike, 151 Peter Hall production, 194 rough theatre, 13, 144–6, 164 scripted improvisation in, 72, 74 and Shakespeare’s Globe, 150; Shakespeare’s Globe production, 152 Cymbeline, 144, 155 Assembly Hall, Edinburgh, 188 All is True, 107 Astley’s Amphitheatre, 184 Allen, Chesney, 114 Atkinson, Rowan, 103 Allen, Tony, 63 Attenborough, Michael, 176 Almeida Theatre, 186–7, 199 Auden, W. H., 98 American Shakespeare, 6–7, see also audiences, Bomb-itty of Errors, Flying complicity and collaboration, 13, Karamazov Brothers, high 22, 41, 93–4, 99, 144–6, 148, school Shakespeare adaptations, 150, 166, 170, 181, 185, 192, MacHomer, Reduced Shakespeare 194, 201 Company, Synetic Theatre, fantasy of unified audience, 12–18, Wooster Group 144–71, 177, 187–94 anachronisms, 20, 24, 27, 30–55, on film, 157–64 57–8, 73, 77, 84, 88, 90, 226n interaction, 13, 18, 20, 27, 45, assimilative, 30–33, 36–9, 42–8 51–2, 56–9, 66–8, 90–2, 133, 136, disjunctive, 30, 32–7, 38–42, 48–55, 185, 195, 222–3 90, 227n participation, 6, 51, 110, 148, in film, 30–1, 33–5, 159, 163 150–1, 157, 166, 196 Shakespeare’s anachronisms, 37–43, popular audiences, 10–11, 13, 17, 227n 105, 110, 115, 142–71
249 250 Index
Auslander, Philip, 7, 148, 152, 164, Birmingham Repertory Theatre, 191 167–8 bisociation, 110–12 Austen, Jane: Emma, 135 Black Adder, The see Blackadder authenticity, 8, 64–5, 152–4, 164–5, Blackadder (TV series), 103, 106 215–7, 219, 233n Blackadder: Back and Forth (film), authority, Shakespearean, 5–6, 8, 29, 104–5 48, 54, 60, 65, 71, 98, 104–5, Blair, Tony, 49 126, 133, 152, 162, 214–9 Blau, Herbert, 15–16, 154–5, 157 Boal, Augusto, 79–80, 123 Bailey, Lucy: Titus Andronicus, 2 Bogdanov, Malachi, 112–13 Bakhtin, Mikhail, 19, 137 Bolton, Matthew J., 220 carnival, 14, 17, 57–8, 96–7, 99, Bomb-itty of Errors, The (play), 136–7, 109, 111, 115–16, 119, 126, 134, 231n 189–90, 215 Bond, Edward: Lear, 123 dialogism, 97–9, 179, 126, 138, Booth, Cornelius, 84 149, 216, 228–9n Borgeson, Jess, 117 grotesque body, 21, 57, 109 Boucicault, Dion, 177 heteroglossia, 46, 51, 97 Bouffes du Nord theatre, 192, 198 on parody, 96–7 Bouncy Castle Hamlet (play), 109 Barbican Theatre, 178 Bourdieu, Pierre, 225n ‘Everybody’s Shakespeare’ festival, Boyd, Michael, 191 81, 100 Henry VI plays, 56 Barish, Joel, 37–8, 42 Branagh, Kenneth, 138 Barker, Clive, 145 Hamlet, 220 Barthes, Roland, 46, 215–16 Henry V, 160 Barton, John, 65, 105, 229n In The Bleak Midwinter, 161–3 Hamlet, 77 Brecht, Bertolt, 7, 15–17, 19, 22–5, The Wars of the Roses, 85 32–4, 79, 81, 137, 157, 180, 184, Baudrillard, Jean, 205, see also 187, 218, 225n simulacra and anachronism, 32–3, 41 Bayne, Ronald, 76 and audience emotion, 16–17, 23, Beale, Simon Russell, 201, 229n 170 Beatles, The, 106–7, 114–6, 119, 219 definition of popular theatre, 12 Beckermann, Bernard, 143 and dialectical theatre, 17, 25, 216 Bedford, The, 197 Die Rundköpfe und die Spitzköpfe, Benjamin, Walter, 154 120 Beresford, Clare, 207, 209 locus and platea, 22, 24, 149 Berger, Harry, 21–2 practice scenes for actors, 25, 120, Bergson, Henri, 96–7, 102, 111, 229n 122 Berry, Cicely, 65 Shakespearean adaptations, 120–3 Bethell, S. L., 9, 17, 225–6n The Messingkauf Dialogues, 121 Beyond the Fringe (revue), 102, 106 The Resistible Rise of Arturo Ui, 120 Bharucha, Rustom, 156 A Short Organum for the Theatre, 16, Bible, the, 60, 124 120 Big Train (TV series), 106 Brewer, Elly, 109 Bill Shakespeare’s Italian Job (play), Brith Gof, 198, 200, 202–3 112, 229n British Empire Shakespeare Society, Billington, Michael, 102, 130–1, the, 108 146–7, 194, 215 Brome, Richard: The Antipodes, 67–8 Index 251
Brook, Peter, 7, 9, 14, 18, 110, 148–9, Charles II, 183 152, 170, 207, 214, 228n Cheek by Jowl, 191, 232n locus and platea, 22–3, 149, 199–200 Cymbeline, 85, 95–6, 128–30 Rough and Holy theatre, 149, 151, The Tempest, 25 159, 196–7 Twelfth Night, 230n and theatre spaces, 190, 192, Chichester Festival Theatre, 188, 232n 196–8, 199–200 circus, 24, 28, 52, 132–5, 146, 184, The Empty Space, 13, 174 190, 231n Hamlet, 144, 155–6, 225n Clockwork Orange, A (film), 35 Mahabharata, 199, 231n clowns, A Midsummer Night’s Dream, 22, and anachronism, 36, 38–9, 40–1 144, 146, 155 clown and fool characters, 20, Brown, Georgina, 136 27–8, 73–6, 86, 91, 181, 229n Brown, James, 218 on the Elizabethan stage, 65–71, Brown, John Russell, 75, 145, 151, 177, 73–6 180, 183, 194, 197, 205, 231n in modern performances, 25, 50, Bruce-Lockhart, Dugald, 93–4 56–9, 91, 132–5, 139–41 Bryant, J. A., 62, 64 Hamlet’s references to clowns, Burbage, James, 183 61–4, 69–71, 75, 227n Burnett, Mark Thornton, 161, 232n Clueless (film), 135 Burt, Richard, 160, 217 Coates, Callum, 231n Burton, Richard, 220 Coleridge, Samuel Taylor, 76 Bush, George, 89 collective responses, 16, 18, 143, 146, Butler, Robert, 102 148, 157, 159, 161, 163, 167 Byrne, Jan, 134 ‘collectivist’ popular theatre, see under popular theatre Cabaret (musical), 44 Collier, John Payne, 62 Camargo, Christian, 196 Colquhoun, Christopher, 49 Campbell, Ken: In Pursuit of Cardenio Comedy of Errors, The, 24 and Shall We Shog?, 83–6, 227–8n Flying Karamazov Brothers Carling Black Label advertisement, production, 25, 62, 132–5, 146, 160 230–1n Carlson, Marvin, 169 Ian Judge RSC production, 10 Carmichael, Hayley, 126 Nancy Meckler RSC production, 49 carnival, see under Bakhtin see also Bomb-itty of Errors Carroll, Tim, 191 Comedy Store Players, the, 81, 83 The Hamlet Project, 4 Comedy Theatre, 186 Romeo and Juliet, 231n ‘commercial’ popular theatre, see The Storm, 90–1, 228n under popular theatre The Tempest, 146 communitas, 13–15, 17–18, 157, 164–71 Cartoucherie, La, 178 Complicite, Castledine, Annie, 25, 51 Measure for Measure, 49–51 Cavalli, Francesco: La Didone, 220 The Winter’s Tale, 25, 51 Cellar Tapes, The, 105 Conkie, Rob, 24, 215 Chambers, E. K., 70 Conway, Dom, 206–9 Chapman, George: The Blind Beggar of Cook, Peter, 106 Alexandria, 38 Cook, William, 177 Chapterhouse Theatre: As You Like It, Cooke, William, 184 202 Cooper, Tommy, 106, 109 252 Index
Coriolanus, Desmet, Christy, 97 Brecht’s adaptation, 120, 122–3 DiCaprio, Leonardo, 206, 208 English Shakespeare Company Dire Straits, 206 production, 10 Dobson, Michael, 54, 87, 131, 155 Cortez, Leon, 108 Doctor Who (TV series), 138, 158, 160, Costner, Kevin, 30–1, 161, 163 162 Counsell, Colin, 22, 24, 34–5, 146, Dodd, Ken, 50 155–6, 165, 199 Dolan, Jill, 168 Courtyard Theatre, Leeds, 191 Dollimore, Jonathan, 23 Courtyard Theatre, Stratford-upon- Don Quixote, 84 Avon, 56, 58–9, 192 Donnellan, Declan, 191–2, see also Covent Garden, 198 Cheek by Jowl Crazy Gang, the, 113–15, 135 Doran, Gregory, Creation Theatre, Macbeth, 49, 194 Much Ado About Nothing, 135 Othello, 44 site-specific work, 203 Double, Oliver, 177, 225n ‘critical’ popular theatre, see under Drakakis, John, 97, 106, 109, 125, popular theatre 126, 229n Cromwell, Oliver, 184 drolls, 184, 230n Crucible Theatre, Sheffield, 188 Dudley, William, 190 Cuming, Richard, 24 Duffet, Thomas: The Mock-Tempest; Cumming, Alan, 35 or, The Enchanted Island, 107 Cymbeline, Dune (film), 220 anachronisms in, 38, 41, 42–3 Duthie, George Ian, 62, 70, 227n Cheek by Jowl production, 85, 95–6, 128–30 Eagleton, Terry, 213 Kneehigh production, 95–6, Edgar, David, 11, 17–18 126–32, 136, 215 Edinburgh Fringe Festival, 28, 83, Mike Alfreds productions, 144–5, 109, 112, 117, 136, 204 155 Edström, Per, 178–9, 185, 189–90, 232n Dante, Alighieri, 182 Edward I, 124 Darcy, Josh, 84–5 Eiríksson, Erlendur, 139 Dash Arts: A Midsummer Night’s Eisenberg, Avner (Avner the Dream, 146–7, 173 Eccentric), 133–4 Davenant, William, 183 Elizabeth I, 65, 67, 105, 159–60 David, Worton, 107 Elizabethan playhouses, 66, 152, Davison, Peter, 67, 71, 74–5, 88, 92, 158–60, 179–83, see also space 225n, 227n Elizabethan Stage Society, 187–8 Dawkins, Peter, 61, 227n Elkin, Susan, 100 Day Today, The (TV series), 102 Ellington, Duke, 134 de Jongh, Nicholas, 89 Elliott, Marianne: Much Ado About Dead Poets Society (film), 161–3, 232n Nothing, 44 Dead Ringers (TV series), 108 Elliott, Michael, 197–8 Dench, Judi, 142 English Shakespeare Company: Densham, Pen, 31 Coriolanus and The Merchant of Dent, R. W., 61 Venice, 10 Dentith, Simon, 98, 135 ‘Englishness’, 6–7, 26, 153–4, 193, 215 Desert Island Discs (radio series), 60 Etchells, Mark, 219 Index 253
Evita (musical), 134 Goethe, Johann Wolfgang von, 189 Eyre, Richard, 161, 177 Gold, Jimmy, 114 Gone With the Wind, 134 Factory, The: The Hamlet Project, 4–5 Granville-Barker, Harley, 187, 193 Famous Victories of Henry the Fifth, Gray, Eddie, 114 The, 66–7 Greenblatt, Stephen, 23 Farrell, Joe, 11 Griffin, Tamzin, 49 Fenton, Doris, 69 Griffiths, Huw, 41 Fernando, Marcus, 92 Grose, Carl, 127–8 Festival Theatre, Stratford, Ontario, Gross, John, 54, 170 188 Grotowski, Jerzy, 147–8, 164 Fiennes, Joseph, 33 Grove, Valerie, 100 Filippusdóttir, Nína Dögg, 140 Grupo Galpão: Romeu e Julieta, 215 Finch, Sarah, 51 Gurr, Andrew, 152–3 Five Day Lear (play), 218–19 Guthrie, Tyrone, 188 Flanagan, Bud, 114 Flintstones, The (TV series), 35 Hahn, Archie, 82 Flying Karamazov Brothers, the: The Hall, Edward, 186 Comedy of Errors, 25, 62, 132–5, Hall, Joseph, 42 146, 230–1n Hall, Peter, 10, 142, 194, 225–6n Fo, Dario, 8, 71–2 Hall, Stuart, 9–11 Folkerth, Wes, 115–6 Halliburton, Rachael, 84 fools, see clowns Hamlet, 60–1, 75, 77, 79, 85–6, 103, Footsbarn Theatre, 201 107, 150, 161, 184, 211 A Midsummer Night’s Dream, 91 adaptations of, 120, 124–5, 132 Forced Entertainment: Five Day Lear, allusions to, 99, 135 218–19 and anachronism, 37 Forman, Simon, 180 Barry Jackson production, 43 Fragson, Harry, 107 First (‘Bad’) Quarto, 69–71 Frantic Redhead Productions: in In the Bleak Midwinter, 161–3 Macbeth, 204 John Barton RSC production, 77 Freeman, Jane, 72 John Gielgud film, 220 Freud, Sigmund, 104–5 Kenneth Branagh film, 220 Fry, Stephen, 105–6 parodies of, 101, 103–4, 106, 108–9, Furst, Timothy Daniel, 134 110, 117, 119 Peter Brook production, 144, Gambon, Michael, 87 155–6, 225n Gardarsson, Gísli Örn, 140 Peter Hall RSC production, 45 Garnon, James, 89–91, 228n references to clowns, 61–4, 69–71, Genette, Gérard, 98 75, 227n Get Over It (film), 135, 161–3 Shakespeare’s Globe production, Gibbons, Martin, 29 63–4, 226n Gielgud, John, 220 The Hamlet Project, 4–5 Globe theatre, 73, 180–1, 205 Tyrone Guthrie production, 188 for the Bedford Globe, see Bedford, Wooster Group production, 220 The Handy, Scott, 144 myth of, 158–60 Harbage, Alfred, 158–9 for the new Globe, see Shakespeare’s Harewood, David, 87 Globe Theatre Harmann, Bernard, 49 254 Index
Harris, Amanda, 170 Hutcheon, Linda, 98, 100, 120, 124, 126 Harrison, George, 114–6 Huxley, Aldous: Brave New World, 233n Harry Potter, 27, 232n Hartley, Andrew James, 216 I’d Like to Shake Shakespeare (song), 107 Hassell, Alex, 88 I’m a Celebrity, Get Me Out of Here! Hawkes, Terence, 137, 216, 230n (TV series), 109, 111 Heckerling, Amy, 135 Illyria (theatre company), 193, 204 Hell Is Not So Hot (play), 80 The Tempest, 24, 92, 192–3, 202, Hemming, Sarah, 91 222–4 Henry IV plays, 60–1, 76, 184 Twelfth Night, 24 anachronism in, 41–2, 46 Importance of Being Earnest, The, 101 George Robey in, 229n improvisation, National Theatre productions, 87 on the Elizabethan stage, 65–71, scripted improvisation in, 72–3 227n Henry V, 42 in modern performance, 27–9, prologue, 144, 181–2 50–1, 54, 76–92, 136, 145–6, Kenneth Branagh film, 160 208–10, 227–8n Laurence Olivier film, 106, 158–9, scripted, 50, 71–6 229n Improvised Shakespeare Company, 81 Shakespeare’s Globe production, In Pursuit of Cardenio (play), 83–6, 14, 154 227–8n Henry VI plays, 63, 181 In the Bleak Midwinter (film), 161–3 anachronism in, 37, 41 incongruity, 82–3, 98, 107–12, 118, Michael Boyd RSC productions, 205, 218 56–9, 146 international Shakespeare, 6–7, 172–3 Henry VIII, see All is True appropriations of Eastern cultures, Henry, Lenny, 142 151, 154–6 Herbert, Henry, 69 see also Cheek by Jowl, Complicite, Hewison, Robert, 156, 191, 195 Dash Arts, Footsbarn, Grupo Heywood, Thomas: Edward IV, 69 Galpão, Ninagawa, Vesturport high school Shakespeare adaptations, interpolation, 27–9, 49–55, 56–9, 135–6, 161–2 69, 70–1, 89–92, 94, 114–6, Hirschhorn, Clive, 110 133, 139–40, 207–10 see also Hogg, Edward, 88 improvisation Holderness, Graham, 185, 205, intertextuality, 120, 124, 134–5, 213–14, 225n, 229n, 231n 137, 203, 217–21, 233n see also Holland, Peter, 9–10, 51, 143, 200 adaptations, parody Holloway, Stanley, 88 iO Theater, Chicago, 81 Holmberg, Arthur, 62, 134–5 Italian Job, The (film), 112 Homan, Sidney, 144–5, 151 It’s a Different Girl Again (song), 107 Hot Fuzz (film), 219, 233n Izzard, Eddie, 27, 109 Howdy Doody, 134 Howerd, Frankie, 88, 114–15, 135 Jackson, Barry, 43 Hughes, Dave, 27–9, 209–10 Jackson, Phil, 202 Hughes, Sean, 50 Jackson, Russell, 159 Hughes, Tom, 206 Jatra performance, 151 Hunter, Kathryn, Jaws (film), 134 Pericles, 18, 89, 146, 196, 228n jazz, 216–18 as Richard III, 170, Johnson, Samuel, 42–3 Index 255
Johnstone, Keith, 71–2, 78–81, 86 Koestler on, 111 Jonson, Ben, 69 Miller on, 80, 111 Joseph, Stephen, 188–9, 199, 233n Laurie, Hugh, 103, 105–6 Julius Caesar, Leary, Timothy, 219 anachronisms in, 38–9, 42 League of Gentlemen, The, 109 RSC tour, 201 LeCompte, Elizabeth, 220–1 Jung, Carl, 15 Lefebvre, Henri, 174–5, 182, 197–8, 202, 233n Katz, Mark, 218 Lennon, John, 107, 114 Katz, Richard, 49 Lennox, Patrick, 88, 228n Kaye, Nick, 202 Leno, Jay, 109 Kelly, Jude, 199 Lester, Adrian, 144 Kemp, Will, 62–3, 67–70, 73, Let’s All Go Down the Strand 75–6, 92 (song), 107 Kent, Jonathan: The Tempest, 186–7 Lévy-Bruhl, Lucien, 15 Kent, Nicholas, 193 Lewis, Howard Lew, 31 Kershaw, Baz, 11, 16, 204 Littlewood, Joan, 11, 177 Kiernan, Pauline, 150–1, 170–1, liveness, 5, 7, 146, 164, 167, 233n 180–1, 196, 232n Liverpool Playhouse: Twelfth Night, 50 Kightley, Oscar, 218 Lloyd, Lucinda, 84 Killigrew, Thomas, 183 locus and platea, 19–24, 34–7, 41, King Lear, 74, 121, 110, 183, 77, 80, 86, 92, 146, 149, 182–3, 186, 219 185–6, 193–4, 196, 198–9 allusions to, 99, 103 Long, Adam, 117–19 anachronisms in, 39, 46 Longleat manuscript, see Peachum, see also Bond, Five Day Lear Henry Knack to Know a Knave, A, 68–9, 75–6 Lord of the Rings, The, 27 Kneehigh Theatre: Cymbeline, 95–6, Love’s Labour’s Lost, 38, 74, 126–32, 136, 215 160, 229n Knight’s Tale, A (film), 35 Luhrmann, Baz, Knox, Teddy, 114 Moulin Rouge!, 35 Koestler, Arthur, 111 Romeo + Juliet, 135, 138, 206, 214, Kristinsson, Thor, 52 219, 231n Kristjánsson, Víkingur, 52–3, 139–40 Luscombe, Christopher, 100 Kronberg Castle, Elsinore, 188 Lynam, Chris, 85 Kumar, Ajay, 173 Macaulay, Alastair, 150 Lamb, Charles, 64, 211 Macbeth, 20, 38, 180, 183, 211 and Mary Lamb, Tales From Brecht’s adaptations, 20, 25 Shakespeare, 27 Frantic Redhead production, 204 Lan, David: As You Like It, 50 Gregory Doran RSC production, Lanier, Douglas, 18, 26, 64–5, 105, 49, 194 125, 136, 158, 163–5 horseback productions, 184 Lasdun, Denys, 200 Out of Joint production, 186 Last Action Hero (film), 135 parodies of, 108–10, 112–13, 137 laughter, 93–4, 100, 150, 167, 177 Porter sequence, 75, 89 Bakhtin on, 17, 19, 96–7 Synetic Theater production, 124–5, Bergson on, 96–7, 102, 111, 229n 230n Freud on, 104–5 in The Postman, 161, 163–4 256 Index
Macbeth Re-Arisen (play), 109 David Thacker RSC production, 44, Macbeth the Panto (play), 110 47–8 MacHomer (play), 112–3, 137 English Shakespeare Company Mackintosh, Iain, 175, 198–9, production, 10 232–3n Gareth Armstrong’s adaption, 124 Madden, John, 33, 159, 232n Jonathan Miller production, 47 Magid, Paul, 133 National Theatre production, 44, Magni, Marcello, 51 226n Maid Marian and her Merry Men scripted improvisation in, (TV series), 30–1 72–4, 90 Majestic Theatre, 198 Shakespeare’s Globe production, Make Poverty History campaign, 89 154 Manning, Bernard, 8 Merry Wives of Windsor, The, 227n Mark Thomas Comedy Product, The scripted improvisation in, 72 (TV series), 197 Sidney Homan production, 144–5 Marlowe, Christopher, 34, 81 metatextual approaches, see under The Jew of Malta, 124 Shakespeare in performance Tamburlaine, 76 Meyers, Jonathan Rhys, 35 Marowitz, Charles, 63, 123–5 Michelham Priory, 202 Marsland, Pearl, 84 Middleton, Thomas: The Roaring Girl, Mason, Bim, 15, 78, 80–1 180, 233n Masson, Forbes, 56–9 Midsummer Night’s Dream, A, 38, 75–6, Masters of the Universe 105, 181, 184, 216, 229n (TV series), 84 Dash Arts production, 146–7, 173 materialist criticism, 23–6, 124, in Dead Poets Society, 161–3 154–5, 165, 167–8 Footsbarn production, 91 Matheson, Tom, 153 Frankie Howerd in, 114 Max Headroom (TV series), 220 in Get Over It, 135, 161–3 Mayer, David, 9, 10, 143, 225n Michael Hoffman film, 163 McAuley, Gay, 176–7, 192, 197, 199 performances of Pyramus and McBurney, Simon, 50 Thisbe scene, 114–6 McCann, Sean, 84 Peter Brook production, 22, 144, McCartney, Paul, 107, 114 146, 155 McConachie, Bruce A., 165, 167 Propeller production, 186 McGrath, John, 9, 11, 13, 15, 18, Shakespeare’s Globe production, 88 175–6, 200 ShakespeaRe-Told adaptation, McKee, Malcolm, 100 211–13 McKellen, Ian, 11, 99, 233n Stanley Holloway in, 88 McLucas, Cliff, 198–9, 202–3 in The Pocket Dream, 109–10 Mears, Mike, 84 Miller, Arthur: The Crucible, 219 Measure for Measure, 38, 228n Miller, Carl, 50 Brecht’s adaptation, 120, 230n Miller, Jonathan, Complicite production, 49–51 on laughter, 80, 111 Meckler, Nancy: The Comedy of The Merchant of Venice, 47 Errors, 49 The Tempest, 50 Meggido, Adam, 84 Miller, Rick: MacHomer, 112–3 Merchant of Venice, The, 61, 107 Minack Theatre, 202 Arnold Wesker’s adaptations, Mitter, Shomit, 17, 23–4, 170, 218 48, 123 Mnouchkine, Ariane, 193 Index 257
Monty Python’s Flying Circus nostalgia, 26, 181, 198, 151–7, 164–6 (TV series), 102–3 ‘nubbing’, 84–5, 228n Monty Python’s Life of Brian (film), 41 Nunn, Trevor, 12, 100, 142 Mosher, Gregory, 132 The Merchant of Venice, 44, 226n Moulin Rouge! (film), 35 Richard II, 44–6, 226n ‘MTV generation’, the, 7, 137, 208, 218, 231n O (film), 135 Much Ado About Nothing, 38, 76, 211 Oddsocks, 110, 204 Creation Theatre production, 135 Oh! Oh! Antonio (song), 107 Marianne Elliott RSC production, Ólafsson, Ólafur Darri, 139 44 Old Vic Theatre, 44, 176 Müller, Simon, 231n Aladdin, 11, 99–100 Mulryne, Ronnie, 190–1, 204 A Midsummer Night’s Dream, 114 Muppet Show, The (TV series), 106, Richard II, 44–6, 226n 109, 134 The Taming of the Shrew, 93–4 Murder, She Wrote (TV series), 27 The Tempest, 50 music hall and variety, 11–12, 107–8, Olga’s House of Shame (film), 219 114 Olivier, Laurence, 78–9, 86, 103, Music Hall Shakespeare, The (song), 232n 107 Henry V (film), 106, 158–9, 229n Music of Lennon and McCartney, The, impressions of, 106–7, 109, 138 107 Olivier, Richard: Henry V, 14, 190 On Worthy Master Shakespeare and his Nabokov, Vladimir, 112 Poems, 19 Naiambana, Patrice, 18, 89, 228n open-air theatre, 24, 27, 92, 175, Nashe, Thomas: An Almond for a 192–3, 199, 201–2, 204, 222–4, Parrat, 67 233n National Theatre, 44, 150, 176, Regent’s Park Open Air Theatre, 198–200 81, 193 Cottesloe Theatre, 191 Ophaboom Theatre, 204 Henry IV plays, 87 Orange Tree Theatre, 191–2, 199 Lyttleton Theatre, 178, 191 Original Shakespeare Company, the, Measure for Measure, 49 145–6, 231n The Merchant of Venice, 44, 226n Oswald, Peter: The Storm, 90–1, 228n Richard II, 102 Othello, 41, 60–1, 75, 135, 150, 214 Richard III, 233n Gregory Doran RSC nationalism, see ‘Englishness’ production, 44 Natya Shastra, 177, 232n parodies of, 101–2, 118 Naughton, Charlie, 114 in Stage Beauty, 161–3 Nelson, Randy, 133 in True Identity, 160 Nervo, Jimmy, 114 Other Place, The, Stratford-upon- Nicholson, Brinsley, 62, 70 Avon, 191 Nightingale, Benedict, 150, 154 Out of Joint: Macbeth, 186 Ninagawa, Yukio: Titus Andronicus, 172–3 Pantaloons, The, Noble, Adrian, 100 Romeo and Juliet, 206–10 Noble, Ross, 27 The Winter’s Tale, 27–9 Noonan, Stephen, 49 pantomime, 11, 35, 99–100, 110–11, Northern Broadsides, 200 127, 208–9 258 Index
Parkes, Shaun, 1–3 popular theatre, parody, 31, 52, 58, 74, 95–138, 204, ‘anthropological’, 10–12, 18, 80, 228–9n 143, 177–9, see also working-class see also adaptations, laughter entertainment confrontational, 104–7 ‘collectivist’, 12–18, 143–71, as criticism, 119–26 187–94, see also space definitions of, 98–9 ‘commercial’, 9–11, 18, 178, 197 and incongruity, 107–12 ‘critical’, 15–18, 79–80, 119–26, parodic attitude, 96, 98–9, 102–3, 143, 157, 166, 169–70, 185, 187, 119–20, 124, 126, 130 193, 198, 202, 204–5, 215 see also and ‘pleasure of recognition’, Brecht 99–104 definitions of, 8–18 politics of, 96–7 Shakespeare and, 18–26 as reappropriation, 112–19 Postman, The (film), 161–4 participation mystique, 15 postmodern architecture, 205 Patterson, Howard Jay, 133 Powell, Phillip, 69 Paul Merton’s Impro Chums, 81 Priestley, J. B., 103 Peacham, Henry, illustration of Titus Propeller (theatre company), Andronicus, 39–40 A Midsummer Night’s Dream, 186 Peacock, Trevor, 114 Rose Rage, 231n Pearson, Mike, 200, 202–3 The Taming of the Shrew, 93–4 Pennington, Michael, 77 Psycho (film), 49 Pericles: Shakespeare’s Globe production, 18, 89, 146, 196, Quayle, Anthony, 196 228n Peter, John, 52–4, 91, 126, 128–9, Racine, Jean: Phèdre, 220 151–3, 181, 230n Rackin, Phyllis, 20, 31–2, 40–3, 73, Peters, Tom, 51, 90 226–7n Pitcher, John, 128 Reardon, Michael, 191, 195, 198 Planet of the Vampires (film), 220–1 Reduced Shakespeare Company, platea, see locus The: The Complete Works of Platter, Thomas, 179–81 William Shakespeare (abridged), Plautus, Titus Maccius, 90 25, 116–9, 125, 137, 230–1n. Playhouse Theatre, 139, 185–6 Reeve, Christopher, 106, 109 Pocket Dream, The (play), 109–10 Regent’s Park Open Air Theatre, 81, Poel, William, 187–8 193 Pontac, Perry, Hamlet Part II, 101, Reservoir Dogs (film), 135 229n Rhys, Matthew, 35 Pope, Alexander, 42 Rice, Emma, 127–8 popular audiences, 10–11, 13, 17, 105, Richard II, 76 110, 115, 142–71 National Theatre production, 102 popular culture, 7, 9, 35, 124, 135, Trevor Nunn production, 44–6 137–8 Richard III, 41, 112 affinity with Shakespeare, 96–9, in Blackadder, 106 112–9, 157–64, 221 horseback productions, 184 in opposition to Shakespeare, 21, National Theatre production, 96–9, 104–7, 111, 160 233n references in modern performance, Northern Broadsides production, 24, 27, 134, 140, 218 200 Index 259
Peter Sellers as, 107, 109 Hamlet (1980), 77 Shakespeare’s Globe production, 170 Henry VI plays, 56–9, 146 Riding Lights: The Winter’s Tale, 51, Julius Caesar, 201 90 Macbeth, 49, 194 Rigby, Jennifer, 193 The Merchant of Venice, 44, 47–8 Righter, Anne, 62 A Midsummer Night’s Dream, 22, Roach, Joseph, 36, 214 144, 146, 155 Robey, George, 107–8, 229n Much Ado About Nothing, 44 Robin Hood retellings, 30–2 Othello, 44 Robin Hood: Prince of Thieves (film), The Shakespeare Revue, 100–2, 112 30–1 The Two Gentlemen of Verona, 201 Robinson, Tony, 31 Royal Shakespeare Theatre, 7, 172, Romeo + Juliet (film), 135, 138, 206, 176, 191–2 214, 219, 231n Rude Mechanical Theatre Company, Romeo and Juliet, 38, 42, 112, 212, the, 200–1 229n Rumsfeld, Donald, 60–1 Brecht’s adaptation, 25, 120, 122 Rutter, Carol Chillington, 159 Grupo Galpão production (Romeu e Rylance, Mark, 14, 61, 150–2, 154, Julieta), 215 156–7, 231n, 233n locus and platea in, 20–1 as Hamlet, 63–4, 85–6, 226n The Pantaloons production, as Henry V, 154 206–10 improvising, 83, 86 Reduced Shakespeare Company in The Storm, 90, 228n adaptation, 117–19 in The Tempest, 88 role of Peter, 75, 92 see also Romeo + Juliet (film) sampling, 135–6, 218–20 in Shakespeare in Love, 159–60, Sayle, Alexei, 50 161–3 Scardifield, Simon, 94 Shakespeare’s Globe production, Schechner, Richard, 158 231n Schechter, Joel, 9–10 Vesturport production, 52–4, 91, Schwarzenegger, Arnold, 135 139–41, 146–7, 185, 230–1n Second Shepherds’ Play, The, 34 Rose Theatre, Kingston, 192, 194–5 Selbourne, David, 144 Rose, Margaret, 96, 98, 229n Sellers, Peter, Rotten, Johnny, 134 cover of A Hard Day’s Night, Royal Circus, 184 106–7 Royal Court Theatre, 177 in The Muppet Show, 109 Royal Exchange, Manchester, 190, Sessions, John, 82 191, 197 Shakespeare, William, Royal Shakespeare Company (RSC), and authority, 5–6, 8, 29, 48, 54, 23, 26, 36, 44, 82, 176, 191–2, 60, 65, 71, 98, 104–5, 126, 133, 201 152, 162, 214–9 ‘Complete Works’ festival, 126, 132 as cultural icon, 97, 102, 134, 164, 173 213, 217 as producer of ‘popular theatre’, 8, as a fictional character, 33–4, 10, 12 103–5, 107–8, 134, 159–60 The Comedy of Errors (1990), 10 and popular culture, see under The Comedy of Errors (2005), 49 popular culture Hamlet (1965), 45 see also under individual plays 260 Index
Shakespeare in performance, Shepherd, Simon, 16, 25 see also intertextuality, parody Sher, Antony, 33, 194 metatextual approaches, 23–6, Sheridan, Mark, 107 36–7, 43–55, 76–8, 86, 88–9, Shewring, Margaret, 190–1, 204 91–2, 96, 98, 125, 130–1, 149, Sidney, Philip, 42, 227n 170, 202–3, 205, 214–18 Simpsons, The (TV series), 112–13, textual approaches, 18–23, 36–43, 229–30n 61–5, 86–7, 91–2, 130–1, 147, simulacra, 164, 171, 205, 211–13, 149, 181, 204–5, 214–15, 217, 219 217–18 Sinfield, Alan, 23, 46–8, 124, Shakespeare for Breakfast (revue), 109 214–15, 225n Shakespeare In Love (film), 33–4, 138, Singer, Daniel, 117, 119 158, 159–63, 206, 231–2n site-specific performance, 186, 198, Shakespeare’s Globe Theatre, 7, 8, 18, 202–4 26, 45, 61, 81, 83, 88–91, 142, Slinger, Jonathan, 56–9 145, 149–57, 164–6, 176, 180, Soho Theatre, 176 190–2, 194–7, 204–5, 215, 228n, Solti, Ildiko, 180 231–3n Sounds Incorporated, 115 Antony and Cleopatra, 151 Southern, Richard, 184–5 As You Like It, 152 Southwark Playhouse, 5 audiences at, 6, 14, 90, 150, 154, space, 157–8, 170–1, 196 appropriated, 175, 179, 197–202 Cymbeline, 144, 155 collectivist, 179, 185, 187–94, 195, Hamlet, 63–4, 226n 197, 199–201, 205 Henry V, 14, 154 disjunctive, 193–4, 198, 202–5 The Merchant of Venice, 154 dominated, 175, 183–6, 197–8, 202 A Midsummer Night’s Dream, 88 Elizabethan theatre space, 66, 152, Pericles, 18, 89, 146, 196, 228n 158–60, 179–83 Richard III, 170 information rate, 199 Romeo and Juliet, 231n New Elizabethan theatre space, Shall We Shog?, 83–6, 227–8n 194–7 see also Shakespeare’s The Storm, 90–1, 228n Globe Theatre The Tempest, 88, 146, 150 Spartacus (film), 161 Titus Andronicus, 1–3 Spencer, Charles, 87 The Two Gentlemen of Verona, 150 Spencer, T. J. B., 70 see also Globe theatre sport, 18, 78–9, 146, 150 Shakespeare Revue, The, 100–2, 112 Stafford-Clark, Max: Macbeth, 186 Shakespeare Sketch, The (sketch), Stage Beauty (film), 161–3 103–4 Starlight Express (musical), 8 ShakespeaRe-Told (TV series), 211–13 Starr, Ringo, 114–15 Shank, Theodore, 12–13 Stein, Gertrude: Doctor Faustus Lights Shared Experience Theatre Company, the Lights, 219 13, 144, 150 Steiner, George, 153 Shaughnessy, Robert, 25–6, 97–8, 166, Stephen Joseph Theatre, 188, 199, 218–9 233n Shaw, Fiona, 102 Sticking Place, The, 83–4, 227n Shaw, George Bernard, 187–8 Stoppard, Tom: Dogg’s Hamlet, 125 She’s the Man (film), 135 Storey, Caitlin, 29 Shepherd, Mike, 127, 132 Storm, The (play), 90–1, 228n Index 261
Stowe, John, 65 Titus (film), 35 Stratford-upon-Avon, 33, 56, 58, 76–7, Titus Andronicus, 86, 118 103, 126, 176, 191–2, 195, 201 anachronism in, 40 Strehler, Giorgio, 170 Peacham illustration, 39–40 Sturzaker, David, 1 Shakespeare’s Globe production, 1–3 Supple, Tim: A Midsummer Night’s see also Titus (film) Dream, 146–7, 173 Yukio Ninagawa production, 172–3 Sutton, Keddy, 84 Today Show, The, 117 Swan Theatre, Stratford-upon-Avon, Toksvig, Sandi, 109 81, 131–2, 173, 191–2, 194–5, Tonbridge Castle, 192–3, 202, 222–3 201, 204 Tramway Theatre, 199 Sweeney, Jim, 83 Travailes of the Three English Brothers, Swen, Blaine, 81 The, 67 Synetic Theater: Macbeth, 124–5, Trial of Chivalry, The, 69 230n Tricycle Theatre, 191–3 Trisha (TV series), 108, 210 Talbot, Ian, 193 Troilus and Cressida, 37 Talbot, Pete, 175, 177, 200–1 True Identity (film), 160 Taming of the Shrew, The, 135, 211 Tucker, Patrick, 145–6, 164 Propeller production, 93–4 Turner, Victor, 13–15, 168–70, Tarantino, Quentin, 135 see also communitas Tarlton, Richard, 65–70, 72–4, 227n Twelfth Night, 132, 135 Taylor, Gary, 213–14, 227n Cheek by Jowl production, 230n Taylor, Paul, 14, 130, 144, 194 Illyria production, 24 Taymor, Julie: Titus, 35 Liverpool Playhouse production, 50 Tempest, The, 86 scripted improvisation in, 72, 74 Cheek by Jowl production, 25 Two Gentlemen of Verona, The, Illyria production, 24, 92, 192–3, Frankie Howerd in, 88 202, 222–4 role of Lance, 22, 75–6 Jonathan Kent production, 186–7 RSC tour, 201 Jonathan Miller production, 50 Shakespeare’s Globe Shakespeare’s Globe production, production, 150 88, 146, 150 Tyrone Guthrie Theatre, Minneapolis, Terera, Gilz, 112 188 textual approaches, see under Shakespeare in performance University of California, Davis, 92 Thacker, David: The Merchant of ‘unofficial’ speech, 67, 72–3, 76–8, Venice, 44, 47–8 80–92, 126, 212 theatre buildings, see space Théâtre du Soleil, 178, 192 Venturi, Robert, 205 Theatre Workshop, 11, 177 Vesturport: Romeo and Juliet, 52–4, 91, theatresports, 71, 78–9, 81, 83 139–41, 146–7, 185, 230–1n theme parks, 6, 157, 166, 205, 232n Vice character, influence of, 40–2 These Foolish Kings (revue), 114 Videodrome (film), 220 Thomas, Mark, 197 Thomson, Peter, 64, 68–9, Wallace, Neil, 199 Tillyard, E. M. W., 153 Warner, David, 45 Tilney, Edmund, 67 Warner, Deborah: Richard II, 102 Tinker, Jack, 100 Wars of the Roses, The (play), 85 262 Index
Watermill Theatre, 175, 186, 199 Willis, Susan, 166, 232n Watson, John, 31 Wilson, John Dover, 62, 70 Wayne, Valerie, 128, 131 Winter’s Tale, The, 181, 185 Webster, Margaret, 62 Complicite production, 25, 51 Weimann, Robert, 18–20, 22, 34, Pantaloons production, 27–9 35–6, 40–1, 71, 137, 146, 149, Riding Lights production, 51, 90 182–3, 216, 225n, 228–9n, role of Autolycus, 40, 89–90 see also locus and platea scripted improvisation in, 72 Weinberg, Mark, 166 Wolfit, Donald, 219, 228n Welfare State: King Real, 123 Woodruff, Robert: The Comedy of Wells, Stanley, 188 Errors, see Flying Karamazov Wesker, Arnold, 47–8, 123, 226n Brothers West Side Story (musical), 134, 206 Wooster Group, The, 219–21 West Yorkshire Playhouse, 178 working-class entertainment, 9, 11, Whose Line Is It Anyway? (TV series), 79, 142, 177, see also popular 81–2 theatre Wiles, David, 46, 63, 67–8, 70, 72–5, Worthen, W. B., 6, 36, 92, 157, 214, 227n 215, 217–18 Wilkinson, Tate, 42 Wright, Louis B., 68 Williams, Raymond, 166 Williams, Robin, Young Vic Theatre, 52, 139, 176, 185, Reality… What A Concept, 82–3 191–2, 194 Throbbing Python of Love, 109 Williams, Sam, 133 Zeffirelli, Franco, 206