Book contents
- Frontmatter
- King Lear: A Retrospect, 1980–2000
- How Shakespeare Knew King Leir
- Contracts of Love and Affection: Lear, Old Age, and Kingship
- Headgear as a Paralinguistic Signifier in King Lear
- What becomes of the broken-hearted: King Lear and the Dissociation of Sensibility
- Lear’s Afterlife
- Songs of Madness: The Lyric Afterlife of Shakespeare’s Poor Tom
- Secularizing King Lear: Shakespeare, Tate, and the Sacred
- ‘Look on her, look’: The Apotheosis of Cordelia
- Jacob Gordin’s Mirele Efros: King Lear as Jewish Mother
- ‘How fine a play was Mrs Lear’: The Case for Gordon Bottomley’s King Lear's Wife
- Some Lears
- King Lear and Endgame
- Shakespeare in Pain: Edward Bond’s Lear and the Ghosts of History
- ‘Think about Shakespeare’: King Lear on Pacific Cliffs
- Actors, Editors, and the Annotation of Shakespearian Playscripts
- Titus Andronicus: The Classical Presence
- Julius Caesar, Machiavelli, and the Uses of History
- Scepticism and Theatre in Macbeth
- Revels End, and the Gentle Body Starts
- ‘Taking just care of the impression’: Editorial Intervention in Shakespeare's Fourth Folio, 1685
- ‘A world elsewhere’: Shakespeare in South Africa
- Shakespeare Performances in England, 2001
- Professional Shakespeare Productions in the British Isles January–December 2000
- The Year's Contributions to Shakespearian Study 1 Critical Studies
- 2 Shakespeare’s Life, Times and Stage
- 3 Editions and Textual Studies (1) and (2)
- Books Received
- Index
Professional Shakespeare Productions in the British Isles January–December 2000
Published online by Cambridge University Press: 28 March 2007
- Frontmatter
- King Lear: A Retrospect, 1980–2000
- How Shakespeare Knew King Leir
- Contracts of Love and Affection: Lear, Old Age, and Kingship
- Headgear as a Paralinguistic Signifier in King Lear
- What becomes of the broken-hearted: King Lear and the Dissociation of Sensibility
- Lear’s Afterlife
- Songs of Madness: The Lyric Afterlife of Shakespeare’s Poor Tom
- Secularizing King Lear: Shakespeare, Tate, and the Sacred
- ‘Look on her, look’: The Apotheosis of Cordelia
- Jacob Gordin’s Mirele Efros: King Lear as Jewish Mother
- ‘How fine a play was Mrs Lear’: The Case for Gordon Bottomley’s King Lear's Wife
- Some Lears
- King Lear and Endgame
- Shakespeare in Pain: Edward Bond’s Lear and the Ghosts of History
- ‘Think about Shakespeare’: King Lear on Pacific Cliffs
- Actors, Editors, and the Annotation of Shakespearian Playscripts
- Titus Andronicus: The Classical Presence
- Julius Caesar, Machiavelli, and the Uses of History
- Scepticism and Theatre in Macbeth
- Revels End, and the Gentle Body Starts
- ‘Taking just care of the impression’: Editorial Intervention in Shakespeare's Fourth Folio, 1685
- ‘A world elsewhere’: Shakespeare in South Africa
- Shakespeare Performances in England, 2001
- Professional Shakespeare Productions in the British Isles January–December 2000
- The Year's Contributions to Shakespearian Study 1 Critical Studies
- 2 Shakespeare’s Life, Times and Stage
- 3 Editions and Textual Studies (1) and (2)
- Books Received
- Index
Summary
Most of the productions listed are by professional or semi-professional companies. Productions originating in 1999 or earlier have only been included if there is new information. Details are mainly taken from newspaper reviews held in the Birmingham Shakespeare Library. Many of the companies listed were involved in small-scale tours; where neither review nor listings mark these as professional they are starred. I have also included the principal annual Shakespeare festivals, both professional and amateur.
ALL’S WELL THAT ENDS WELL
Stray Dogs, tour: July 2000
Director: Simon Godwin
ANTONY AND CLEOPATRA
Adaptation
All for Love by John Dryden Artifice, Twickenham, at Battersea Arts Centre: September 2000
This new company intends to produce nonnaturalistic plays, including plays written in verse.
AS YOU LIKE IT
The Crucible Theatre, Sheffield and the Lyric Theatre, Hammersmith: February 2000
Director: Michael Grandage
Designer: Christopher Oram
Music: Julian Philips
Rosalind: Victoria Hamilton
Victoria Hamilton won the Barclays Regional
Theatre award for Best Actress.
The Gate Theatre, Dublin: February 2000
Director: Jonathan Miller
Designer: Bruno Schwengl
Heartbreak Productions, Leamington Spa, tour with The Tempest: June 2000
Director: Maddy Kerr
Pentameters Theatre Club, Hampstead∗: June 2000
Directed by Matthew Brenher
Played in repertory with Henry V. The company hopes to tour America.
Manchester Royal Exchange: July 2000
Director: Marianne Elliot
Designer: Liz Ascroft
Seen as a journey from tyranny to religious reconciliation and emphasizing the androgynous attraction of Rosalind.
The RSC at the Royal Shakespeare Theatre,
Stratford: March 2000
Director: Greg Doran
Designer: Kaffe Fassett
Rosalind: Alexandra Gilbreath
- Type
- Chapter
- Information
- Shakespeare SurveyAn Annual Survey of Shakespeare Studies and Production, pp. 322 - 335Publisher: Cambridge University PressPrint publication year: 2002