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Troilus and Cressida


  • 12 b/w illus.
  • Page extent: 280 pages
  • Size: 228 x 152 mm
  • Weight: 0.45 kg
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 (ISBN-13: 9780521796842 | ISBN-10: 0521796849)

  • Also available in Hardback
  • Published September 2005

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$55.99 (X)



This edition is the first to offer a detailed account of the theatrical treatment of Troilus and Cressida on the British and North American stages from its first revivals at the beginning of the twentieth century to the present. The illustrated introduction also briefly traces the play from its earliest printings and adaptation in the seventeenth century through its period of theatrical neglect in the eighteenth and nineteenth centuries and notes some important Continental productions. Frances A. Shirley gives an overview of the conceptions behind the important revivals, and responses to those revivals, as well as noting the critical trends that helped shape a great variety of more recent theatrical approaches.

 The authoritative New Cambridge Shakespeare text, edited by Anthony B. Dawson, is accompanied by detailed commentary on stage business, actors’ interpretations, specific use of settings and properties, and substantial textual alterations. The introduction also shows the close ties between theatre and the political, social and cultural contexts of productions. This edition will be useful to students of Shakespeare in performance and to those intrigued by the rise in popularity and change in reputation of what is still considered one of Shakespeare’s less well-known plays.

FRANCES A. SHIRLEY is Professor of English Emerita, Wheaton College, Norton, MA. Her publications include Shakespeare’s Use of Off-Stage Sounds, Swearing and Perjury in Shakespeare’s Plays, an edition of Webster’s The Devil’s Law-Case and a collection of critical essays on King John and Henry Ⅷ.



This series offers students and researchers the fullest possible stage histories of individual Shakespearean texts. In each volume a substantial introduction presents a conceptual overview of the play, marking out the major stages of its representation and reception. The commentary, presented alongside the New Cambridge Shakespeare edition of the text itself, offers detailed, line-by-line evidence for the overview presented in the introduction, making the volume a flexible tool for further research. The editors have selected interesting and vivid evocations of settings, acting and stage presentation, and range widely in time and space.

A Midsummer Night’s Dream, edited by Trevor R. Griffiths
Much Ado About Nothing, edited by John F. Cox
Antony and Cleopatra, edited by Richard Madelaine
Hamlet, edited by Robert Hapgood
The Tempest, edited by Christine Dymkowski
King Henry V, edited by Emma Smith
The Merchant of Venice, edited by Charles Edelman
Romeo and Juliet, edited by James N. Loehlin
Macbeth, edited by John Wilders
The Taming of the Shrew, edited by Elizabeth Schafer
As You Like It, edited by Cynthia Marshall
Othello, edited by Julie Hankey

Twelfth Night, edited by Elizabeth Schafer



Professor Emerita,
Wheaton College, Norton, Massachusetts, USA

Cambridge, New York, Melbourne, Madrid, Cape Town, Singapore, São Paulo

Cambridge University Press
The Edinburgh Building, Cambridge CB2 2RU, UK

Published in the United States of America by Cambridge University Press, New York
Information on this title:

© Cambridge University Press 2005

This book is in copyright. Subject to statutory exception
and to the provisions of relevant collective licensing agreements,
no reproduction of any part may take place without
the written permission of Cambridge University Press.

First published 2005

Printed in the United Kingdom at the University Press, Cambridge

A catalogue record for this book is available from the British Library

ISBN-13 978-0-521-79255-4 hardback
ISBN-10 0-521-79255-X hardback
ISBN-13 978-0-521-79684-2 paperback
ISBN-10 0-521-79684-9 paperback

Cambridge University Press has no responsibility for the persistence or accuracy of URLs for external or third-party internet websites referred to in this book, and does not guarantee that any content on such websites is, or will remain, accurate or appropriate.


List of illustrations page vi
Series editors’ preface viii
Acknowledgements x
Editor’s note xi
List of abbreviations xii
List of productions xiv
Introduction 1
List of characters 88
Troilus and Cressida 89
Bibliography 242
Index 250


1 Death of Hector in Frank Birch’s Marlowe Society production, Everyman Theatre, 1922. Courtesy of the Victoria and Albert Museum.  page 15
2 Cassandra appears at the Trojan Council in B. Iden Payne’s production, Shakespeare Memorial Theatre, 1936. Photographer Ernest Daniels. By permission of the Shakespeare Centre Library.  page 22
3 Helen’s cocktail party in Michael Macowan’s production, London Mask Theatre, 1938. Photographer Angus McBean. By permission of the Harvard Theatre Collection, copyright owner.  page 26
4 Ajax and Thersites, with Achilles, Patroclus and Myrmidons in Anthony Quayle’s production, Shakespeare Memorial Theatre, 1948. Photographer Angus McBean. By permission of the Harvard Theatre Collection, copyright owner.  page 29
5 Cassandra visits the Trojan Council in Glen Byam Shaw’s production, Shakespeare Memorial Theatre, 1954. Photographer Angus McBean. Copyright Royal Shakespeare Company.  page 32
6 Coral Browne as Helen in Tyrone Guthrie’s Old Vic production American Tour, 1957. Photograph courtesy of the Billy Rose Theatre Collection, The New York Public Library for the Performing Arts, Astor, Lennox and Tilden Foundation.  page 35
7 Achilles, Patroclus and the Greek commanders in Peter Hall and John Barton’s ‘Sandpit’ production, 1960–62. Photographer Angus McBean. By permission of the Harvard Theatre Collection, copyright owner.  page 38
8 Cressida among the Greeks in Jack Landau’s American Shakespeare Festival production, Stratford, Connecticut, 1961. Billy Rose Theatre Collection, The New York Public Library for the Performing Arts, Astor, Lennox and Tilden Foundation.  page 41
8 Ajax, Thersites, Achilles and Patroclus in Michael Langham’s Stratford Festival of Canada production, 1963. Billy Rose Theatre Collection, The New York Public Library for the Performing Arts, Astor, Lennox and Tilden Foundation.  page 45
10 Achilles, Patroclus and Thersites in John Barton’s Royal Shakespeare Company Production, 1969. Photographer Reg Wilson. Copyright Royal Shakespeare Company.  page 49
11 Pandarus and Cressida in Howard Davies’ Royal Shakespeare Company Production, 1985. Joe Cocks Studio Collection. Copyright Shakespeare Birthplace Trust.  page 62
12 Ajax and Thersites in Kenneth Albers’ Oregon Shakespeare Festival Production, 2001. Photographer David Cooper.  page 82


It is no longer necessary to stress that the text of a play is only its starting-point, and that only in production is its potential realized and capable of being appreciated fully. Since the coming-of-age of Theatre Studies as an academic discipline, we now understand that even Shakespeare is only one collaborator in the creation and infinite recreation of his play upon the stage. And just as we now agree that no play is complete until it is produced, so we have become interested in the way in which plays often produced – and pre-eminently the plays of the national Bard, William Shakespeare – acquire a life history of their own, after they leave the hands of their first maker.

 Since the eighteenth century Shakespeare has become a cultural construct: sometimes the guarantor of nationhood, heritage, and the status quo, sometimes seized and transformed to be its critic and antidote. This latter role has been particularly evident in countries where Shakespeare has to be translated. The irony is that while his status as national icon grows in the English-speaking world, his language is both lost and renewed, so that for good or ill, Shakespeare can be made to seem more urgently ‘relevant’ than in England or America, and may become the one dissenting voice that the censors mistake as harmless.

 ‘Shakespeare in Production’ gives the reader, the student and the scholar a comprehensive dossier of materials – eye-witness accounts, contemporary criticism, promptbook marginalia, stage business, cuts, additions, and rewritings – from which to construct an understanding of the many meanings that the plays have carried down the ages and across the world. These materials are organized alongside the New Cambridge Shakespeare text of the play, line by line and scene by scene, while a substantial introduction in each volume offers a guide to their interpretation. One may trace an argument about, for example, the many ways of playing Queen Gertrude, or the political transmutations of the text of Henry Ⅴ; or take a scene, an act, or a whole play, and work out how it has succeeded or failed in presentation over four hundred years.

 For, despite our insistence that the plays are endlessly made and remade by history, Shakespeare is not a blank, scribbled upon by the age. Theatre history charts changes, but also registers something in spite of those changes. Some productions work and others do not. Two interpretations may be entirely different, and yet both will bring the play to life. Why? Without setting out to give absolute answers, the history of a play in the theatre can often show where the energy and shape of it lie, what has made it tick, through many permutations. In this way theatre history can find common ground with literary criticism. Both will find suggestive directions in the introductions to these volumes, while the commentaries provide raw material for readers to recreate the living experience of theatre, and become their own eye-witness.

J. S. Bratton
Julie Hankey


Research for this edition has been made possible by generous help from the librarians and staffs of many institutions, including the British Library, the Westminster Reference Library, The Library of Congress, Harvard’s Houghton Library, The Boston Public Library, The Yale University Library, The New York Public Library, and the Wheaton College Library. I have been assisted in innumerable ways by Georgianna Ziegler and her staff at the Folger Shakespeare Library; Niky Rathbone and her staff at the Birmingham Central Library (The Birmingham Shakespeare Library); Annette Fern and Kathleen Coleman at the Harvard Theatre Collection; Marion Pringle, Karen Brown, Helen Hargest and the staff of the Shakespeare Centre Library; Janet Birkett and others at the British Theatre Museum; Sarah Cuthill, Keeper, University of Bristol Theatre Collection; Richard Mangan, Administrator of the Raymond Mander and Joe Michensen Theatre Collection; and Louise Ray, Archivist of the Royal National Theatre. Theatres and their publicity departments have also provided information about promptbooks and production photographs. They include The Royal Shakespeare Theatre, The Royal National Theatre, Trinity Repertory Company, Amy Richard at The Oregon Shakespeare Festival and Ellen Charendoff at The Stratford Festival Canada. Edward Brubaker has furnished many insights on productions of the Oregon Shakespeare Festival. Jill Levenson, Robert Ormsby and especially M. J. Kidnie have made accessible details and opinions about the 2003 Stratford Canada production that I did not have a chance to visit. Sister Agnes Fleck provided notes and a tape of a Terry Hands discussion. During the whole process, I have been grateful to the series editors, J. S. Bratton and Julie Hankey, for their guidance and patience, and to Sarah Stanton of the Cambridge University Press for her continuing assistance.

 Finally, I am most appreciative of the permissions given by the copyright owners of the illustrations.


I have silently corrected occasional misprints in quotations from newspaper articles, especially some reprinted on the Internet. Where details of costumes, sets and stage business have come from three or more reviews, a promptbook or production videotape, or, in the case of many Stratford, London and North American revivals I have seen since 1956, the sort of notes Arthur Colby Sprague taught me to keep, I have not footnoted extensively, but merely mentioned the company and date, especially in the commentary to the text.

 The play text used is The New Cambridge Shakespeare Troilus and Cressida, edited by Anthony B. Dawson, Cambridge University Press, 2003.


ASF American Shakespeare Festival
BBC British Broadcasting Company
BET Boston Evening Transcript
BOV Bristol Old Vic
BR Birmingham Repertory Company
CF Cambridge Festival
CSM Christian Science Monitor
DM Daily Mail, London
DT Daily Telegraph, London
FT Financial Times, London
FTG Folger Library Theatre Group
GC Glasgow Citizens’ Theatre
Gdn Guardian
HSSR Harvard Summer School Repertory
ILN Illustrated London News
In The Independent, London
LM London Mask Theatre
LT The Times, London
MS Marlowe Society
NAO National Arts Centre Ottawa
NS New Statesman
NT Royal National Theatre
NYEP New York Evening Post
NYHT New York Herald Tribune
NYS New York Sun
NYSF New York Shakespeare Festival
NYTh National Youth Theatre
NYT New York Times
OA Open Air Theatre, Regent’s Park
Obs Observer, London
OSF Oregon Shakespeare Festival
OX Oxford Stage Company
OV Old Vic
PI Plays International
PMLA Publications of the Modern Language Association of America
PP Plays and Players
RSC Royal Shakespeare Company
RST Royal Shakespeare Theatre
SCL Shakespeare Centre Library
SFC Stratford Festival Canada
SMT Shakespeare Memorial Theatre
SQ Shakespeare Quarterly
SR Saturday Review of Literature
SS Shakespeare Survey
ST Sunday Telegraph, London
St The Standard, London
SuT Sunday Times, London
TA Theatre Arts
TLS Times Literary Supplement
TR Trinity Repertory Company, Providence
TS Theatre Survey
TW Theatre World
YR Yale Repertory Theatre

Journal references appear in an abbreviated form in the text, but can be found in full in the bibliography. References to newspaper and periodical reviews are found only in footnotes and the commentary.


The following is a selective chronological list of productions of Troilus and Cressida in English. Where amateur or semi-professional productions are noted, they were either pioneering or considered important enough for substantive reviews in major newspapers. All productions between 1679 and 1733 are of the Dryden adaptation. The first name after the title of the company is the producer or director (early producers were the equivalent of today’s directors). Where principal actors are listed, ‘T’ stands for Troilus, ‘C’ for Cressida, ‘P’ for Pandarus, ‘U’ for Ulysses, ‘TH’ for Thersites, ‘A’ for Achilles, and ‘H’ for Hector. SMT represents The Shakespeare Memorial Theatre and its company. It became the Royal Shakespeare Company (RSC) in 1961, and RST stands for their main Stratford theatre. All locations are in Great Britain, most often in London, unless otherwise indicated by company name or the notation of a city.

 A chronology that includes many Continental revivals, but omits some of the British and American productions listed below, can be found on the Theatre for a New Audience web site chronprt.htm as of this writing.

Theatrical productions

Date(s)   Company/Director; Principal actors   Venue(s)
1602?   Lord Chamberlain’s Men?   Globe or Inns of Court?
1679   Duke’s Men/Davenant; Betterton T, Leigh P, Underhill TH   Dorset Garden
1697   Betterton P, Wilks T, Quin H   Lincoln’s Inn Fields
1709   Betterton TH, Wilks T, Quin H   Drury Lane
1720   Quin H, Leigh A   Lincoln’s Inn Fields
1723   Quin TH, Hippisley P   Lincoln’s Inn Fields
1733   Quin TH, Hippisley P, Ryan T   Covent Garden
1907   Charles Fry TH, Lewis Casson T   Great Queen Street
1912, 1913   Elizabethan Stage Society/William Poel; Edith Evans C, Elspeth Keith TH, Robert Speaight U   King’s Hall; Stratford
1916   Yale Shakespeare Association/E. M. Woolley   Hyperion, New Haven, CT
1922   Marlowe Society/Frank Birch   Cambridge; Everyman
1923   Old Vic/Robert Atkins; Ion Swinley T, D. Hay Petrie TH   Old Vic
1927   Rockford College   Rockford, IL
1928   Norwich Players/Nugent Monck   Maddermarket
1932   Cambridge Festival/Frank Birch; Anthony Quayle H   Arts Theatre
1932   Players Theatre/Henry Herbert; Otis Skinner TH, Edith Barrett C, Eugene Powers P   Moss’s Broadway Theatre, NY
1934   Carnegie Institute of Technology/B. Iden Payne   Little Theatre, Pittsburgh, PA
1936   SMT/B. Iden Payne; Donald Wolfit U, Randle Ayrton P, Pamela Brown C   SMT
1936   York Settlement Community Players/Kenneth Muir   Harrogate Festival Opera House
1938   London Mask/Michael Macowan; Robert Speaight U, Max Adrian P, Robert Harris T, Ruth Lodge C   Westminster
1938   Oxford University Dramatic Society/Neville Coghill   Exeter College Garden
1940   Marlowe Society Cambridge Revels/George Rylands   Cambridge Arts Theatre
1941   Princeton Theatre Intime   Princeton, NJ
1941   Civic Theatre/Leon Askin; Murray Sheehan P   Washington, DC
1946   Open Air Theatre/Robert Atkins   Regent’s Park
1948   Marlowe Society/George Rylands   ADC Theatre, Cambridge
1948   SMT/Anthony Quayle; Paul Scofield T, Noel Willman P   SMT
1948   Norwich Players/Nugent Monck   Maddermarket
1948, 1950   Brattle Theatre Company/Jerry Kilty U, Thayer David P   Cambridge, MA
1953   Oxford University Dramatic Society/Merlin Thomas   St John’s College Gardens; Paris
1953   Antioch Area Theatre/Arthur Lithgow; Elias Rabb T   Yellow Springs, OH
1954   SMT/Glen Byam Shaw; Anthony Quayle P, Laurence Harvey T, Leo McKern U, Keith Michell A   SMT
1954   University of Colorado/J. H. Crouch   Boulder, CO
1954   Marlowe Society/George Rylands   Cambridge
1955   Portsmouth Southern Shakespeare Players   St. Peter’s Hall
1955   Sloane School   Sloane School
1956-7   Old Vic/Tyrone Guthrie; Paul Rogers P, John Neville T, TH, Rosemary Harris C, Jeremy Brett T   Old Vic; US tour
1956   Marlowe Society/John Barton, George Rylands   Cambridge Arts
1958   Oregon Shakespeare Festival/James Sandoe   Ashland, OR
1958   Youth Theatre/Michael Croft   Lyric, Hammersmith; Moray House, Edinburgh
1960, 1962   SMT-RSC/Peter Hall, John Barton; Denholm Elliott T, Ian Holm T, Dorothy Tutin C, Max Adrian P, Michael Hordern P, Peter O’Toole TH, Gordon Gostelow TH   SMT; Edinburgh Lyceum; Aldwych
1961   American Shakespeare Festival/Jack Landau; Carrie Nye C, Ted van Greithuysen T   Stratford, CT
1961   Richmond Shakespeare Society   Terrace Garden; Fulham Open Air; George Inn
1963   Birmingham Rep/John Harrison; Derek Jacobi T, Arthur Pentlow TH, Philip Voss A   Repertory Theatre
1963   Stratford Festival Canada/Michael Langham; John Colicos H, William Hutt P, Eric Christmas TH, Peter Donat T   Festival Theatre Stratford, Ont.
1964   Marlowe Society/Robin Midgley   Cambridge Arts
1964   Victoria University Drama Club   Wellington, N.Z.
1965   National Youth Theatre/Michael Croft   Old Vic
1965   APA Repertory/Richard Watts, Jr   Phoenix, NY
1965   N. Y. Shakespeare Festival/Joseph Papp   Delacorte, Central Park, NY
1966   Nottingham Theatre Club   Hutchinson St.
1968   University of Michigan, Ann Arbor   Lydia Mendelssohn Theatre, MI
1968   Guildhall School of Music and Drama/Edward Argent   Guildhall School
1968-9   RSC/John Barton; Norman Rodway TH, Michael Williams T, Helen Mirren C, David Waller P, Alan Howard A, Patrick Stewart H, Sebastian Shaw U   RST; Aldwych,
1969   John Fernald Company/John Fernald   Rochester, MI
1969   Great Lakes Shakespeare Festival/Lawrence Carra   Lakewood, OH
1970   Princeton Repertory/Arthur Lithgow, Tom Brenner   McCarter, Princeton, NJ
1970   Champlain Shakespeare Festival/James J. Thesing   Burlington, VT
1971   Belgrade Coventry   Studio Theatre
1971   Royal Academy of Dramatic Art   Vanbrugh Theatre
1971   Trinity Square Repertory/Adrian Hall; Richard Kneeland U   Providence, RI
1971   Yale Repertory   New Haven, CT
1972   Oregon Shakespeare Festival/Jerry Turner   Bowmer Theatre, Ashland, OR
1972   Olney Theatre/Ellie Chamberlain   Olney, MD
1972   Bristol Old Vic/Howard Davies; Anna Calder-Marshall C   Theatre Royal
1972   New Jersey Shakespeare Festival   Madison, NJ
1973   NY Shakespeare Festival/David Schweitzer   Lincoln Center, NY
1973   Marlowe Society/Richard Cottrell   Cambridge Arts; Nuffield, Southampton
1973   Merseyside Unity Theatre/Jerry Dawson   Liverpool Everyman
1973   Glasgow Citizens’/Philip Prowse; Mike Gwilym A   Citizens’ Theatre
1976   Yale Repertory/Alvin Epstein; Jeremy Geidt P   New Haven, CT
1976   Old Globe Theatre Co./Edward Payson; John Doolin U, Sandy McCallom T, Pamela Payton-Wright C   San Diego, CA
1976   National Theatre/Elijah Moshinsky; Robert Eddison P, Denis Quilley H, Philip Locke U   Young Vic
1976-7   RSC/John Barton, Barry Kyle; Mike Gwilym T, Tony Church U, Michael Pennington H, Robin Ellis A, David Waller P, Francesca Annis C   RST; Aldwych
1977   Round House Downstairs/Ronald Hayman   Roundhouse, Chalk Farm
1978   National Arts Center/John Wood; Edward Atienza U, Erik Donkin P   Ottawa, Ont.
1978   The Changing Space   New York
1979   Bristol Old Vic/Richard Cotrell   Edinburgh Festival; Theatre Royal
1980   New York Theatre Ensemble   East 4th Street, NY
1981   Oxford University Dramatic Society   Oxford Playhouse; Cambridge Arts
1981   RSC/Terry Hands; David Suchet A, Tony Church P, Joe Melia TH, Carol Royle C   Aldwych
1983   Manchester Umbrella   Bretton Hall College
1983   Folger Library Theatre Group/John Neville-Andrews   Washington, DC
1984   Oregon Shakespeare Festival/Richard E. T. White   Ashland, OR
1984   Utah Shakespeare Festival/Libby Appel   Cedar City, UT
1985-6   RSC/Howard Davies; Anton Lesser T, Juliet Stevenson C, Peter Jeffries U, Alan Rickman A, Alun Armstrong TH   RST; Barbican
1987   Stratford Festival Canada/David William   Avon Theatre, Stratford, Ont.
1987   National Youth Theatre/Matthew Francis   Christ Church, Spitalfields
1987   Chicago Shakespeare Rep/Barbara Gaines   Ruth Page Theatre, Chicago, IL
1988   Berkley Shakespeare Festival/Michael Addison   Hinkle Park, Berkley, CA
1990   Yale Repertory/Andrei Belgrader; John Turturro TH, Ethyl Eichelberger P, Bill Camp T, Cindy Katz C   New Haven, CT
1990-1   RSC/Sam Mendes; Norman Rodway P, Simon Russell Beale TH, Ralph Fiennes T, Patterson Joseph T, David Troughton H   Swan; Barbican Pit
1992   Shakespeare Company/Bill Alexander   Washington, DC
1992   Shakespeare and Company/Dennis Krausnick   The Mount, Lennox, MA
1993   Contact-Tara Arts Co./Jatinder Verma   Manchester; Stockport
1995   London Theatre Base   Diorama, Camden Town
1995   New York Shakespeare Festival/Mark Wing-Davey   Delacorte, NY
1996   RSC/Ian Judge; Joseph Fiennes T, Philip Quast A, Clive Francis P   RST
1996   Georgia Shakespeare Festival/Tom Markus   Atlanta, GA
1997   Colorado Shakespeare Festival/Tom Markus   Boulder, CO
1997   Wisconsin Shakespeare Festival/Thomas Collins   Platteville, WI
1998   Open Air Theatre/Alan Strachan   Regent’s Park
1998-9   RSC/Michael Boyd; Jayne Ashbourne C, Darrell D’Silva A, Alistair Petrie H, William Houston T   Pit; Tour (UK, US), Swan
1999   National Theatre/Trevor Nunn; David Bamber P, Sophie Okonedo C, Peter de Jersey T, Dhobe Oparei H   Olivier
1999   Alabama Shakespeare Festival/Kent Gash   Montgomery, AL
1999   Utah Shakespeare Festival/Paul Barnes   Cedar City, UT
1999   Washington Shakespeare Co./Joe Banno   Arlington, VA
1999-2000   Oxford Stage Co./Dominic Dromgoole; Matt Lucas TH   Oxford Theatre; Tour; Old Vic
2000   Playhouse/Peter Bogdanov   Sydney, Australia
2001   Theatre for a New Audience/Peter Hall   American Place, NY
2001   Oregon Shakespeare Festival/Kenneth Albers   Ashland, OR
2003   Tobacco Factory/Andrew Hilton; Lisa Kay C, Ian Barritt P, Andrew Kaye U, Jamie Ballard TH   Bristol
2003   Stratford Festival Canada/Richard Monette; Bernard Hopkins P, Claire Jullien C, Peter Donaldson, U   Tom Patterson Theatre, Stratford, Ont.
2004   Publick Theatre/Steve Barkhimer   Boston, MA

Radio, television and recordings

1935   BBC Radio/Val Gielgud; Ion Swinley H, Angela Baddeley C
1955   BBC TV/George Rylands, Douglas Allen; Frank Pettingell P, Walter Hudd U, Richard Wordsworth TH
1966   BBC TV/Michael Croft, Bernard Hepton, Paul Hill
1981–2   BBC Shakespeare Plays Series/Jonathan Miller; Anton Lesser T, Charles Gray P, ‘The Incredible Orlando’ TH, Suzanne Burden C
1948   Marlowe Society audio recording/George Rylands
1961   Caedmon audio recording/Howard Sackler
1981   BBC/Audio Forum recording
1998   Arkangel/Clive Brill; Norman Rodway P, David Troughton TH, Julia Ford C, Ian Pepperell T

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