Hostname: page-component-848d4c4894-v5vhk Total loading time: 0 Render date: 2024-06-17T08:14:56.077Z Has data issue: false hasContentIssue false
  • English
  • Français

Hamlet in the Thirties

Published online by Cambridge University Press:  07 July 2009

Frances Teague
Get access Rights & Permissions [Opens in a new window]

Extract

Wolcott Gibbs once told the New Yorker's readers: Now, in 1938, only the invincibly naive imagine they go to a production of “Hamlet” for the purpose of watching a bunch of actors in a play. The others understand that they are about to be confronted with a ringing challenge to their culture. The man who has not seen Barrymore, Massey, Hampden, Lieber [sic], Gielgud, Howard, Evans, Tinker, and Chance (to round up enough for a little ball game) and is not prepared to discuss their respective performances might better go and live in Rockport, Indiana, though it is by no means certain that he would be safe even there. (22 Oct. 1938, p. 34)

Type
Articles
Information
Theatre Survey , Volume 26 , Issue 1 , May 1985 , pp. 63 - 79
Copyright
Copyright © American Society for Theatre Research 1985

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

REFERENCES

Agate, James. The English Dramatic Critics: An Anthology 1660–1932. New York: Hill and Wang, n.d.Google Scholar
Barrymore, John. Confessions of an Actor. Indianapolis: Bobbs Merrill, 1926.Google Scholar
Brown, John Mason. Two on the Aisle. New York: Norton, 1938.Google Scholar
Buell, William Ackerman. The Hamlets of the Theatre. New York: Astor-Honor, 1968.Google Scholar
Carlisle, Carol Jones. Shakespeare from the Green Room. Chapel Hill: UNC Press, 1969.Google Scholar
Diers, Herman. ”Fritz Leiber — Actor and Producer of Shakespeare.” Diss. Univ. of Illinois, 1965.Google Scholar
Fowler, Gene. Good Night, Sweet Prince. New York: Viking, 1944.Google Scholar
Gielgud, John in collaboration with Miller, John and Powell, John. Gielgud: An Actor and His Time. New York: Clarkson N. Potter, 1980.Google Scholar
Gilder, Rosamund. John Gielgud's Hamlet. New York: Oxford, 1937.Google Scholar
Hayman, Ronald. John Gielgud. London: Heinemann, 1971.Google Scholar
Houseman, John. Run-Through. New York: Simon and Schuster, 1972.Google Scholar
Howard, Leslie. Trivial Fond Records, ed. Howard, Ronald. London: William Kimber, 1982.Google Scholar
Howard, Leslie Ruth. A Quite Remarkable Father. New York: Harcourt, Brace & Co., 1959.Google Scholar
Kane, Whitford. Are We All Met? London: Elkin Mathews & Marrot, 1931.Google Scholar
Kobler, John. Damned in Paradise: The Life of John Barrymore. New York: Atheneum, 1977.Google Scholar
Kroll, Daniel Ronald. “Hamlet from Edwin Booth to Laurence Olivier.” Diss. Columbia Univ., 1959.Google Scholar
Mantle, Burns. Best Plays. New York: Dodd, Mead & Co., 1929–1930 through 1939–1940.Google Scholar
Massey, Raymond. A Hundred Different Lives. Boston: Little, Brown & Co., 1979.Google Scholar
Murray, Christopher. “Shakespeare in Ireland.” Shakespeare Quarterly, 34 (1983): 460–462.CrossRefGoogle Scholar
Odell, George C.Annals of the New York Stage. New York: Columbia, 1927, vol. 1.Google Scholar
Robinson, Marie J. “Revivals on the New York Stage.” Diss. Northwestern Univ. 1960. 2 vols.Google Scholar
Speaight, Robert. Shakespeare on the Stage. Boston: Little, Brown & Co., 1973.Google Scholar
Sprague, Arthur Colby and Trewin, J.C.. Shakespeare's Plays Today. Columbia, S.C.: USC Press, 1971.Google Scholar
Webster, Margaret. Shakespeare Without Tears. New York: Whittlesey House, 1942.Google Scholar