Book contents
- Frontmatter
- CONTENTS
- ILLUSTRATIONS
- The Commercial Bard: Business Models for the Twenty-First Century
- International Innovation? Shakespeare as Intercultural Catalyst
- Brand Shakespeare?
- Global Shakespeare 2.0 and the Task of the Performance Archive
- An International Database of Shakespeare on Film, Television and Radio
- ‘Sounds and Sweet Airs’: Music in Shakespearian Performance History
- Using Shakespeare with Memes, Remixes and Fanfic
- ‘Pretty Much how the Internet Works’; or, Aiding and Abetting the Deprofessionalization of Shakespeare Studies
- Catalysing What? Historical Remediation, the Musical, and What of Love's Labour's Lasts
- Kabuki Twelfth Night and Kyogen Richard III: Shakespeare as a Cultural Catalyst
- The Sonnets as an Open-Source Initiative
- ‘A Stage of the Mind’: Hamlet on Post-War British Radio
- Post-Textual Shakespeare
- I am What I am Not: Identifying with the Other in Othello
- Desdemona's Book, Lost and Found
- Non-Catalyst and Marginal Shakespeares in the Nineteenth-Century Revival of Catalan-Speaking Cultures
- Shakespeare, Mácha and Czech Romantic Historicism
- An Irish Catalysis: W. B. Yeats and the Uses of Shakespeare
- François-Victor Hugo and the Limits of Cultural Catalysis
- ‘You Taught me Language’: Shakespeare in India
- There is Some Soul of Good: An Action-Centred Approach to Teaching Shakespeare in Schools
- The Royal Shakespeare Company as ‘Cultural Chemist’
- Shakespeare at the White Greyhound
- Dark Matter: Shakespeare’s Foul Dens and Forests
- What We Hear; What we see: Theatre for a New Audience's 2009 Hamlet
- Narrative of Negativity: Whig Historiography and the Spectre of King James in Measure for Measure
- Québécois Shakespeare goes Global: Robert Lepage's Coriolan
- Endless Mornings on Endless Faces: Shakespeare and Philip Larkin
- Shakespeare Performances in England 2010
- Professional Shakespeare Productions in the British Isles, January–December 2009
- The Year’s Contribution to Shakespeare Studies
- INDEX
Professional Shakespeare Productions in the British Isles, January–December 2009
Published online by Cambridge University Press: 28 November 2011
By
Edited by
Book contents
- Frontmatter
- CONTENTS
- ILLUSTRATIONS
- The Commercial Bard: Business Models for the Twenty-First Century
- International Innovation? Shakespeare as Intercultural Catalyst
- Brand Shakespeare?
- Global Shakespeare 2.0 and the Task of the Performance Archive
- An International Database of Shakespeare on Film, Television and Radio
- ‘Sounds and Sweet Airs’: Music in Shakespearian Performance History
- Using Shakespeare with Memes, Remixes and Fanfic
- ‘Pretty Much how the Internet Works’; or, Aiding and Abetting the Deprofessionalization of Shakespeare Studies
- Catalysing What? Historical Remediation, the Musical, and What of Love's Labour's Lasts
- Kabuki Twelfth Night and Kyogen Richard III: Shakespeare as a Cultural Catalyst
- The Sonnets as an Open-Source Initiative
- ‘A Stage of the Mind’: Hamlet on Post-War British Radio
- Post-Textual Shakespeare
- I am What I am Not: Identifying with the Other in Othello
- Desdemona's Book, Lost and Found
- Non-Catalyst and Marginal Shakespeares in the Nineteenth-Century Revival of Catalan-Speaking Cultures
- Shakespeare, Mácha and Czech Romantic Historicism
- An Irish Catalysis: W. B. Yeats and the Uses of Shakespeare
- François-Victor Hugo and the Limits of Cultural Catalysis
- ‘You Taught me Language’: Shakespeare in India
- There is Some Soul of Good: An Action-Centred Approach to Teaching Shakespeare in Schools
- The Royal Shakespeare Company as ‘Cultural Chemist’
- Shakespeare at the White Greyhound
- Dark Matter: Shakespeare’s Foul Dens and Forests
- What We Hear; What we see: Theatre for a New Audience's 2009 Hamlet
- Narrative of Negativity: Whig Historiography and the Spectre of King James in Measure for Measure
- Québécois Shakespeare goes Global: Robert Lepage's Coriolan
- Endless Mornings on Endless Faces: Shakespeare and Philip Larkin
- Shakespeare Performances in England 2010
- Professional Shakespeare Productions in the British Isles, January–December 2009
- The Year’s Contribution to Shakespeare Studies
- INDEX
Summary
Most of the productions listed are by professional companies, but some amateur productions are included. The information is taken from Touchstone (www.touchstone.bham.ac.uk), a Shakespeare resource maintained by the Shakespeare Institute Library. Touchstone includes a monthly list of current and forthcoming UK Shakespeare productions from listings information. The websites provided for theatre companies were accurate at the time of going to press.
All's well that ends well
National Theatre Company. Olivier Theatre, London, 19 May–30 September.
www.nationaltheatre.org.uk
Director: Marianne Elliott
Countess: Clare Higgins
Bertram: George Rainsford
Helena: Michelle Terry
- Type
- Chapter
- Information
- Shakespeare Survey , pp. 378 - 387Publisher: Cambridge University PressPrint publication year: 2011