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Published online by Cambridge University Press: 07 November 2024
This is my last Shakespeare review for this journal, and a good thing too. Most of the Shakespeare productions I saw this year were really adaptations. Almost all were ‘presentist’. This does not mean that I didn’t enjoy many of them, just that my particular kind of expertise was largely useless: their ideal reviewer would be a social historian or an expert on popular culture. Because the collective tendency seemed to me significant, I am covering more productions than usual, and, because they were dominated by a directorial vision, I am naming only directors. This is of course unfair to the actors, but the abundance of online reviews means that anyone can supplement my accounts. Directors often seemed to rely on their audience’s previous experience or expectations of the plays, which is presumably why they mostly confined themselves to the same small group that everyone already knows.
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