Book contents
- Frontmatter
- Shakespeare Played Small: Three Speculations about the Body
- The Architecture of the Fortune Playhouse
- The Bare Island
- ‘How Chances it they Travel?’ Provincial Touring, Playing Places, and the King’s Men
- Writing for the Metropolis: Illegitimate Performances of Shakespeare in Early Nineteenth-Century London
- The Perishable Body of the Unpoetic: A. C. Bradley Performs Othello
- Playing Places for Shakespeare: The Maddermarket Theatre, Norwich
- ‘A Fairly Average Sort of Place’: Shakespeare in Northampton, 1927–1987
- The Living Monument: Self and Stage in the Criticism and Scholarship of M. C. Bradbrook
- Stratford Stages: Interviews with Michael Reardon and Tim Furby, and Sam Mendes
- Dis-Covering the Female Body: Erotic Exploration in Elizabethan Poetry
- Theseus’ Shadows in A Midsummer Night’s Dream
- ‘Time for Such a Word’: Verbal Echoing in Macbeth
- Shakespeare’s Knowledge of Italian
- Tamburline and Edward Alleyn’s Ring
- Shakespeare Performances in England, 1992–1993
- Professional Shakespeare Productions in the British Isles, January-December 1992
- The Year's Contributions to Shakespeare Studies 1 Critical Studies
- 2 Shakespeare’s Life, Times, and Stage
- 3 Editions and Textual Studies
- Books Received
- Index
Professional Shakespeare Productions in the British Isles, January-December 1992
Published online by Cambridge University Press: 28 March 2007
- Frontmatter
- Shakespeare Played Small: Three Speculations about the Body
- The Architecture of the Fortune Playhouse
- The Bare Island
- ‘How Chances it they Travel?’ Provincial Touring, Playing Places, and the King’s Men
- Writing for the Metropolis: Illegitimate Performances of Shakespeare in Early Nineteenth-Century London
- The Perishable Body of the Unpoetic: A. C. Bradley Performs Othello
- Playing Places for Shakespeare: The Maddermarket Theatre, Norwich
- ‘A Fairly Average Sort of Place’: Shakespeare in Northampton, 1927–1987
- The Living Monument: Self and Stage in the Criticism and Scholarship of M. C. Bradbrook
- Stratford Stages: Interviews with Michael Reardon and Tim Furby, and Sam Mendes
- Dis-Covering the Female Body: Erotic Exploration in Elizabethan Poetry
- Theseus’ Shadows in A Midsummer Night’s Dream
- ‘Time for Such a Word’: Verbal Echoing in Macbeth
- Shakespeare’s Knowledge of Italian
- Tamburline and Edward Alleyn’s Ring
- Shakespeare Performances in England, 1992–1993
- Professional Shakespeare Productions in the British Isles, January-December 1992
- The Year's Contributions to Shakespeare Studies 1 Critical Studies
- 2 Shakespeare’s Life, Times, and Stage
- 3 Editions and Textual Studies
- Books Received
- Index
Summary
Most of the productions listed are by professional companies, but some amateur productions and adaptations are included. Information is taken from reviews and programmes held in the Birmingham Shakespeare Library. Details have been verified wherever possible, but the nature of the material prevents corroboration in every case.
ALL'S WELL THAT ENDS WELL
The RSC at the Swan Theatre, Stratford: June 1992-
Director: Sir Peter Hall
Designer: John Gunter
Music: Guy Woolfenden
Helena: Sophie Thompson
The Countess: Barbara Jefford
Bertram: Toby Stephens
ANTONY AND CLEOPATRA
The RSC at the Royal Shakespeare Theatre, Stratford: October 1992-
Director: John Caird
Designer: Sue Blane
Music: Ilona Sekacz
Antony: Richard Johnson
Cleopatra: Claire Higgins
AS YOU LIKE IT
Cheek by Jowl: Tour continues. See Shakespeare Survey 46.
Joe Dixon won the Ian Charleson Award for his portrayal of Rosalind.
The RSC at the Royal Shakespeare Theatre, Stratford: April 1992-
Director: David Thacker
Designer: Johan Engels
Music: Gary Yershon
Rosalind: Samantha Bond
Greenwich Theatre, London: April—June 1992
Director: James Robert Carson
Designer: Kathy Strachan
Rosalind: Jemma Redgrave
New Shakespeare Company, Regent's Park: June 1992—
Director: Maria Aitken
Designer: Bruno Santini
Rosalind: Cathryn Harrison
Jaques/The Film Director: Betty Bourne
Conceived as a film with the chief roles played by 'professionals' the other roles by 'enthusiastic amateurs' with 'close-ups' and 'repeats'. The Director/Jaques was played by the drag artist Betty Bourne. Some reviewers felt the conceit upstaged the play.
- Type
- Chapter
- Information
- Shakespeare Survey , pp. 209 - 220Publisher: Cambridge University PressPrint publication year: 1994