SHAKESPEARE IN PRODUCTION - Assetsassets.cambridge.org/97805217/83750/frontmatter/...SHAKESPEARE IN PRODUCTION Shakespeare’s last play seems unusually elastic, capable of radically

SHAKESPEARE IN PRODUCTION

Shakespeare’s last play seems unusually elastic, capable of radically differ-ent interpretations, which reflect the social, political, scientific or moralconcerns of their period. This edition of The Tempest is the first dedicatedto its long and rich stage history. Drawing on a wide variety of sources, itexamines four centuries of mainstream, regional and fringe productions in Britain (including Dryden and Davenant’s Restoration adaptation),nineteenth- and twentieth-century American stagings, and recent Australian, Canadian, French, Italian and Japanese productions.

In a substantial, illustrated introduction Dr Dymkowski analyses thecultural significance of changes in the play’s theatrical representation: forexample, when and why Caliban began to be represented by a black actor,and Ariel became a man’s role rather than a woman’s. The commentaryannotates each line of the play with details about acting, setting, textualalteration and cuts, and contemporary reception.

With extensive quotation from contemporary commentators and detailfrom unpublished promptbooks, the edition offers both an accessibleaccount of the play’s changing meanings and a valuable resource for furtherresearch.

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SHAKESPEARE IN PRODUCTION : . .

This series offers students and researchers the fullest possible stagingof individual Shakespearean texts. In each volume a substantial intro-duction presents a conceptual overview of the play, marking out themajor stages of its representation and reception. The commentary, presented alongside the New Cambridge edition of the text itself,offers detailed, line-by-line evidence for the overview presented in theintroduction, 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. GriffithsMuch Ado About Nothing, edited by John F. Cox

Antony and Cleopatra, edited by Richard MadelaineHamlet, edited by Robert Hapgood

Macbeth, edited by John WildersJulius Caesar, edited by James RigneyKing Henry V, edited by Emma Smith

Romeo and Juliet, edited by James N. LoehlinThe Taming of the Shrew, edited by Elizabeth SchaferThe Merchant of Venice, edited by Charles Edelman

As You Like It, edited by Cynthia MarshallTroilus and Cressida, edited by Frances Shirley






T H E T E M P E S T

� ��

Reader in Drama and Theatre,

Royal Holloway, University of London

�






The Pitt Building, Trumpington Street, Cambridge, United Kingdom

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written permission of Cambridge University Press.

First published 2000

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Library of Congress Cataloging in Publication DataShakespeare, William, –.

The Tempest / edited by Christine Dymkowski.p. cm. – (Shakespeare in production)

Includes bibliographical references (p. ) and index. (hb)

. Survival after airplane accidents, shipwrecks, etc – Drama. . Shakespeare, William, - – Stage history. . Shakespeare, William, –. Tempest.

. Fathers and daughters – Drama. . Castaways – Drama. 6. Magicians – Drama.I. Dymkowski, Christine, – II. Title. III. Series.

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For Pauline






CONTENTS

List of illustrations page viii

Series editors’ preface ix

Acknowledgements xi

Editor’s note xii

List of abbreviations xiv

List of productions xix

Introduction

List of characters

The Tempest and commentary

Appendix : selected textual variations

Appendix : list of principal players

Bibliography

Index

vii






ILLUSTRATIONS

Michael Fitzgerald as Prospero, with multiple Ariels, in SilviuPurcarete’s production. By courtesy and kind permission ofNottingham Playhouse. Photo: Sean Hudson. page

Leah Hanman as Ariel in Frank Benson’s production. By permissionof the Shakespeare Centre Library, Stratford-upon-Avon.

Michael Redgrave as Prospero and Alan Badel as Ariel in MichaelBenthall’s production. By permission of the ShakespeareCentre Library, Stratford-upon-Avon. Photo: Angus McBean.

Ralph Richardson as Prospero and Margaret Leighton as Ariel inMichael Benthall’s revival. By permission of Hulton GettyPicture Collection. Photo: Central Press Photos, the ShakespeareCentre Library, Stratford-upon-Avon.

The masque in Declan Donnellan’s production. By permissionof photographer Robert Workman.

The masque in Jonathan Miller’s production. By permission ofphotographer Simon Annand.

Thomas Grieve’s set for Act , Scene of Charles Kean’s

production. By permission of V & A Picture Library.

Page of The Sketch, September , showing scenes andcharacters from Herbert Beerbohm Tree’s production. By kindpermission of The British Library (Shelfmark LD).

Act I, Scene of John Barton’s production, designed byChristopher Morley with Ann Curtis. By permission ofphotographer Zoë Dominic.

Act , Scene of Peter Brook’s production, designed by thedirector. By permission of the Shakespeare Centre Library,Stratford-upon-Avon. Photo: Angus McBean.

Act , Scene of Nicholas Hytner’s production, designed byDavid Fielding. By permission of the Shakespeare Centre Library,Stratford-upon-Avon (Joe Cocks Studio Collection). Photo: JoeCocks.

Michael Maloney as Ferdinand, Mark Rylance as Ariel, DerekJacobi as Prospero, and Alice Krige as Miranda in Ron Daniels’s production, designed by Maria Bjornson. By permission ofphotographer Donald Cooper © Photostage.

viii






SERIES EDITORS’ PREFACE

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 ofbeing appreciated fully. Since the coming-of-age of Theatre Studies as anacademic 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 oftenproduced – and preeminently the plays of the national Bard, WilliamShakespeare – acquire a life history of their own, after they leave the handsof their first maker.

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

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

For despite our insistence that the plays are endlessly made and remadeby history, Shakespeare is not a blank, scribbled upon by the age. Theatrehistory charts changes, but also registers something in spite of thosechanges. Some productions work and others do not. Two interpretations

ix






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 thetheatre can often show where the energy and shape of it lie, what has madeit tick, through many permutations. In this way theatre history can findcommon ground with literary criticism. Both will find suggestive directionsin the introductions to these volumes, while the commentaries provide rawmaterial for readers to recreate the living experience of theatre, and becometheir own eye-witnesses.

J. S. BrattonJulie Hankey

This series was originated by Jeremy Treglown and published by JunctionBooks, and later by Bristol Classical Press, as ‘Plays in Performance’. Fourtitles were published; all are now out of print.

x Series editors’ preface






ACKNOWLEDGEMENTS

I would like to thank Royal Holloway, University of London, for one term’ssabbatical leave in , , and ; the British Academy for a per-sonal research grant that allowed a fortnight’s research in Stratford; theSociety for Theatre Research for a grant that helped with the acquisitionof illustrations; and the copyright holders for permission to reproducethem. I have had enormous help from David Ward of my college library,as well as all the staff at the Shakespeare Centre Library in Stratford (espe-cially Karin Brown and Sylvia Morris) and the Theatre Museum inLondon (especially Andrew Kirk). I am very grateful to Andrew Gurr for his advice, generous sharing of knowledge and practical help, whichincluded using some of his own research time at the Folger ShakespeareLibrary to answer my queries; Julie Hankey for patiently working her waythrough many trees to help me see the wood; Jacky Bratton for combiningthe good offices of an editor with the kindnesses of a friend; Sarah Stantonfor her patience and understanding; David Lindley for his helpful com-ments and forbearance; Elisabetta Noto for translating the reviews of DeBerardinis’s production and explaining their references to Italian culture;Joyce Carter for making available her work on Paige’s production; IreneAlexander for facilitating my research at the Royal National Theatre; SarahMorris of the University of Bristol Theatre Collection for locating pho-tographs of Miller’s production; Lynette Goddard and HannahRudman for help, respectively, with the bibliography and word-processing;and Audrey Cotterell for her painstaking copy-editing. The many otherswho gave me access to material on particular productions are credited infootnotes to the relevant sections of the Introduction. My greatest debt isto my parents and to Pauline Gooderson, who has lived with this projectas long as I have and who, besides translating French and German reviews,has done so much to help me complete it.

xi






EDITOR’S NOTE

The play-text printed here uses the readings established by David Lindleyfor the New Cambridge Shakespeare; however, the stage directions asprinted in the Folio have been restored, and, in line with the policy of thisseries, not all additional editorial directions have been adopted. Similarly,the lineation of NCS has, for ease of reference, occasionally been modified.

Shakespeare’s play is discussed in the present historical tense, and pro-ductions of it in the past tense. Ariel, who has been played by both femaleand male actors throughout the play’s production history, is referred to as‘she’ when played by a woman and ‘he’ when played by a man, in order tokeep the actor in the reader’s mind; this usage, however, suggests a consis-tent attitude that did not necessarily exist in the productions themselves.(For example, Ariel, played by Viola Tree in H. B. Tree’s production,is called ‘he’ in the printed version of the text and ‘she’ in the hand-writtenpromptbook notes.) The Commentary calls characters by their Shake-spearean names even when they have been slightly modified by lateradapters (e.g., Alonso’s and Antonio’s names are sometimes spelled‘Alonzo’ and ‘Anthonio’); the one exception is Dryden and Davenant’sTrincalo, whose difference from Shakespeare’s character warrants reten-tion of his new name.

For the reader’s convenience, productions are identified by name ofadapter/actor-manager/director; for example, ‘Tree’s Prospero’ means theactor in Tree’s production, rather than Tree himself. In some cases (forexample, ‘Kean’s Prospero’), the part was in fact played by the actor-manager in his own production. The actors of parts not discussed in theIntroduction are identified, where possible and pertinent, when the Com-mentary first introduces characters in a particular production. In addition,Appendix lists the principal players of productions that feature promi-nently in the Commentary; in alphabetical order of the person responsiblefor the production, it allows cross-referencing with the chronological listof productions, which gives fuller production data.

All information about a production, including quotations, is drawn fromits promptbook and/or printed text, unless otherwise noted; full details ofsources are given in the bibliography. However, because productions evolveand make various changes to the text, stage-business, actors, etc., it should

xii






be remembered that no promptbook is definitive; indeed, there are some-times several versions of a promptbook, reflecting different stages of thesame production. Furthermore, the accuracy of promptbooks depends onthe thoroughness of their annotators: a feature common to several pro-ductions may not have been recorded in each case. Evidence from apromptbook may therefore make a production seem different from otherswhen this is not the case.

Where promptboks have been consulted, all cuts are noted. Half-linecuts are annotated as ‘a’ or ‘b’ when the two halves of the line are sharedby different speakers or are clearly distinguished by punctuation; the occa-sional division of a line into three separate speeches or phrases is annotatedas ‘a’, ‘b’ and ‘c’. When division of a line is unclear, the words cut arequoted.

Standard promptbook abbreviations are used and quoted throughout thecommentary: e.g., DR or DSR (downstage right); LC (left centre); UL orUSL (upstage left); LUE (left upper entrance/exit); RE (first rightentrance/exit); FOH (front of house); FO (facing out); OP (oppositeprompt); PS (prompt side). Notations about R and L are always from theon-stage, rather than the audience, perspective. Other abbreviations aregiven in the list that follows.

Insignificant alterations of the text, such as expansion or use of con-tractions, changes from singular to plural, and slight differences in word-order, have not been recorded. For reasons of space, quotations do not useellipsis dots to indicate omission of the beginning or the end of a sentence.Citation of reviews is complete in the Commentary (i.e., author, newspa-per, and date); incomplete citation indicates an inadequately identifiedarchival cutting (usually from the Theatre Museum for London andregional productions and from the Shakespeare Centre Library for Strat-ford and RSC productions). In the Commentary, books and articles arecited only by author and short title; full details may be found in the Bibliography.

Editor’s note xiii






ABBREVIATIONS(Place of publication indicated by context in Commentary)

Ad AdvertiserANZTR Australia & New Zealand Theatre RecordAP Associated PressAPJ Aberdeen Press & JournalAR Adelaide ReviewAth AthenaeumAus AustralianBED Birmingham Evening DispatchBEM Birmingham Evening MailBEN Bolton Evening NewsBEP Bristol Evening PostBG Birmingham GazetteBgEN Birmingham Evening NewsBM Birmingham MailBP Birmingham PostBSM Birmingham Sunday MercuryBul BulletinBWDP Bristol Western Daily PressBWP Birmingham Weekly PostC CarlinoCD Editor’s notes taken during performanceCET Coventry Evening TelegraphCG Covent GardenCiL City LimitsCL Country LifeCM Casting MagazineCP City Pages (?)CPi Circulating PinesCS Carlino SpettacoliCSM Christian Science MonitorCT Canberra TimesD Dispatch (St Paul, Minnesota)DE Daily ExpressDET Derby Evening Telegraph

xiv






DG Daily GraphicDH Dudley HeraldDL Drury Lane (or down left, depending on context)DM Daily MailDMSR Des Moines Sunday RegisterDN Daily NewsDS Daily SketchDT Daily TelegraphDW Daily WorkerEJ Evesham JournalEN Evening NewsES Evening StandardFR Financial ReviewFT Financial TimesG GuardianGC Gloucester CitizenGH Glasgow HeraldHC Hartford CourantHHE Hampstead & Highgate ExpressHR Hollywood ReporteriG Il GiornoiGe Il GiornaleILN Illustrated London NewsiM Il ManifestoInd IndependentIndS Independent on SundayISDN Illustrated Sporting and Dramatic NewsITN Italian Tribune NewsJC Jewish ChronicleL ListenerLAT Los Angeles TimesLC Leamington ChronicleLDP Liverpool Daily PostLFMT Little Falls Minnesota Tran (?)LP Liverpool PostLS London StarLSC [Royal] Leamington Spa CourierLTR London Theatre RecordMA Morning AdvertiserMD Minnesota DailyMelR Melbourne Report

List of abbreviations xv






MG Manchester GuardianMGa Montreal GazetteMLD Montréal Le DevoirMMA Minneapolis Metro AreaMP Morning PostMR Minneapolis Register (?)MS Morning StarMSN Minneapolis Skyway NewsMST Minneapolis Star TribuneMSun Mail on SundayMT Minneapolis TribuneNBB New Brighton BulletinNC News ChronicleNCS New Cambridge ShakespeareNEC Newcastle-upon-Tyne Evening ChronicleNEP Nottingham Evening PostNG Nottingham GuardianNS New StatesmanNSL Newark Star-LedgerNTA New Theatre AustraliaNw NewsweekNYLJ New York Law JournalNYN New York NewsdayNYO New York ObserverNYP New York PostNYT New York TimesNYVV New York Village VoiceO ObserverOM Oxford MailOT Oxford TimesOTN Our Theatre in the Nineties (G. B. Shaw)OurT Our TownP Punchpb(s) promptbook(s)PP Plays and PlayersPS Paese SeraPWI Plymouth Western IndependentR RinascitaRPB Rochester Post-BulletinRS La Repubblica SpettacoliRSC Royal Shakespeare Company

xvi List of abbreviations






RST Royal Shakespeare Theatre, StratfordSA Sunday AgeSCG Somerset County GazetteSCL Shakespeare Centre Library, StratfordSco ScotsmanSCSN Sherburne County Star-Newssd(s) stage direction(s)SDR San Diego ReaderSE Sunday ExpressSH Stratford HeraldSk SketchSLP South London PressSMH Sydney Morning HeraldSMT Shakespeare Memorial Theatre, StratfordSN Soho NewsSp SpectatorSPD St Paul DispatchSPPP St Paul Pioneer PressSS Shakespeare SurveySt StageST Sunday TimesSTel Sunday TelegraphSTT Stage & Television TodaySunH Sun HeraldSundH Sunday HeraldSWCN Solihull & Warwick County NewsT The TimesTab TabletTat TatlerTCC Twin Cities CourierTCR Twin Cities ReaderTES Times Education SupplementTGM Toronto Globe & MailTJ Theatrical JournalTLS Times Literary SupplementTM Theatre Museum, LondonTN Theatre NewsletterTO Time OutTR Theatre RecordTr TribuneTru Truth

List of abbreviations xvii






TW TheaterWeekuc unidentified clippingV VarietyWA Warwick & Warwickshire Advertiser/Warwick AdvertiserWES Wolverhampton Express & StarWGH Wantage & Grove HeraldWI Western IndependentWO What’s OnWSG West Sussex GazetteWSJ Wall Street JournalYP Yorkshire Post? Editor’s conjecture or unknown information

xviii List of abbreviations






LIST OF PRODUCTIONS

This list gives basic information about all productions discussed or men-tioned in the Introduction and Commentary; asterisks mark those for whichcuts have been noted. Venues are in London unless otherwise noted; abbre-viations and locations necessary for identification of a theatre are given parenthetically. Design refers to scenery/set and costume unless otherwisenoted: (s) scenery/set and (c) costume. In order to indicate whether pro-ductions played Shakespeare’s text or an adaptation of it, the following designations are used: (a) adapter; (a-m) actor-manager; (m) manager; (d)director. Although adapters have consciously altered Shakespeare’s text, itshould be remembered that each production is to some extent itself anadaptation: actor-managers and directors cut, re-arrange, and interpret theplay so that it reflects their own vision of what it means. Consequently,some of the productions of Shakespeare’s text noted below include majoromissions and interpolations of other material; see the Commentary forfurther details.

xix






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xxii






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(d)

Sadl

er’s

Wel

ls/O

ld V

icJo

hn A

rmst

rong

Her

bert

Men

ges,

Ja

nuar

y

/

Den

nis

Aru

ndel

l

Janu

ary

*Will

iam

Bri

dges

-St

ratf

ord-

upon

-Avo

nSM

T, S

trat

ford

Nor

man

Wilk

inso

n,A

ntho

ny B

erna

rd

Apr

il

;

Ada

ms

(d)

Fest

ival

Com

pany

Aub

rey

Ham

mon

d,re

vive

d

(s

eeB

ridg

es-A

dam

s (s

);be

low

)R

ex W

hist

ler

(c)

Bus

kins

Wor

cest

er C

olle

ge,

Sum

mer

Oxf

ord

*Ran

dle

Ayr

ton

(d)

Stra

tfor

d-up

on-A

von

SMT

, Str

atfo

rdW

ilkin

son,

Ber

nard

A

pril

(rev

ival

of

Bri

dges

-Fe

stiv

al C

ompa

nyH

amm

ond,

Ada

ms’

s

B

ridg

es-A

dam

s (s

);pr

oduc

tion)

Whi

stle

r (c

)

Ben

Ide

n Pa

yne

(d)

Stra

tfor

d-up

on-A

von

SMT

, Str

atfo

rdJ.

Gow

er P

arks

Ber

nard

M

ay

Fest

ival

Com

pany

xxiii






Ada

pter

/C

ompa

nyV

enue

Des

ign

Mus

icD

ate

offir

stac

tor-

man

ager

/pe

rfor

man

cedi

rect

or

Geo

rge

Dev

ine

and

Old

Vic

Oliv

er M

esse

lJ.

S. B

ach,

W. A

. Moz

art

M

ay

Mar

ius

Gor

ing

(d)

*Ben

Ide

n Pa

yne

(d)

Stra

tfor

d-up

on-A

von

SMT

, Str

atfo

rdJ.

Gow

er P

arks

(c)

;B

erna

rd

Apr

il

;

Fest

ival

Com

pany

Pegg

y N

eale

(s)

revi

ved

A

pril

Mar

gare

t W

ebst

er (

d)C

olon

ial,

Bos

ton;

Alv

in,

try-

out?

;

Janu

ary

New

Yor

k

*Eri

c C

rozi

er (

d)St

ratf

ord-

upon

-Avo

nSM

T, S

trat

ford

Paul

She

lvin

gL

enno

x B

erke

ley

A

pril

Fest

ival

Com

pany

*Nor

man

Wri

ght

(d)

Shak

espe

are

SMT

, Str

atfo

rdSh

elvi

ngB

erke

ley

M

ay

Mem

oria

l The

atre

Com

pany

Nev

ill C

oghi

ll (d

)O

xfor

d U

nive

rsity

Wor

cest

er C

olle

ge,

Mic

hael

Bla

ck (

s)?

June

Dra

mat

ic S

ocie

tyO

xfor

d(O

UD

S)

*Mic

hael

Ben

thal

l (d)

Shak

espe

are

Mem

oria

lSM

T, S

trat

ford

Lou

don

Sain

thill

John

Woo

ldri

dge

Ju

ne

;

rev

ived

The

atre

Com

pany

M

arch

Juliu

s G

elln

er (

d)B

erna

rd M

iles

Mer

mai

d (S

t. Jo

hn’s

Mic

hael

Str

inge

r (s

);E

lizab

etha

n

Sept

embe

r

Woo

d)C

. Wal

ter

Hod

ges

(c)

Rob

ert

Hel

pman

n (d

)O

ld V

icL

eslie

Hur

ryM

alco

lm A

rnol

d

Apr

il

xxiv






Dav

id W

illia

mO

pen

Air

(R

egen

t’sM

alco

lm P

ride

(c)

Ju

ne

Park

)

Dav

id S

case

(d)

Lib

rary

, Man

ches

ter

Scas

e

Nov

embe

r

*Pet

er B

rook

(d)

Shak

espe

are

Mem

oria

lSM

T, S

trat

ford

;Pe

ter

Bro

okPe

ter

Bro

ok, e

t al

.

Aug

ust

;T

heat

re C

ompa

nyD

rury

Lan

etr

ansf

erre

d

Dec

embe

r

Dou

glas

Sea

le (

d)O

ld V

icF

inla

y Ja

mes

Purc

ell,

Loc

ke

June

(Dry

den/

Dav

enan

tte

xt)

John

Hal

e (d

)T

heat

re R

oyal

, Bri

stol

Jane

Gra

ham

Mic

hael

Mel

linge

r, et

al.

Se

ptem

ber

Oliv

er N

evill

e (d

)O

ld V

icL

eslie

Hur

ryM

icha

el T

ippe

tt

May

Ger

ald

Fre

edm

an (

d)N

ew Y

ork

Shak

espe

are

Del

acor

te (

Cen

tral

Fest

ival

Park

), N

Y

*Clif

ford

Will

iam

sR

SCR

ST, S

trat

ford

Abd

’ Elk

ader

Far

rah

Ray

mon

d L

eppa

rd

Apr

il

with

Pet

er B

rook

(d)

Car

ey H

arri

son

(d)

Cam

brid

ge U

nive

rsity

Lau

rist

on H

all,

Car

ey H

arri

son

and

Dav

id L

ord

Aug

ust

The

atre

Com

pany

Edi

nbur

ghR

od L

ack

(s);

Judi

th F

ulm

an (

c)

Will

ard

Stok

er (

d)N

orth

ampt

on R

eper

tory

Osb

orne

Rob

inso

n

May

The

atre

, Nor

tham

pton

Mic

hael

Hea

ley

(d)

Mea

dow

Pla

yers

Oxf

ord

Play

hous

e,Yo

land

a So

nnab

end

(s)

Mic

hael

Dre

ss

Apr

il

;

Oxf

ord

revi

ved

M

arch

xxv






Ada

pter

/C

ompa

nyV

enue

Des

ign

Mus

icD

ate

offir

stac

tor-

man

ager

/pe

rfor

man

cedi

rect

or

Pete

r B

rook

(d)

Pete

r B

rook

and

R

ound

Hou

sen/

an/

aJu

ly

(wor

k-in

-pro

gres

s)Je

an-L

ouis

Bar

raul

t

Dav

id J

ones

(d)

Chi

ches

ter

Fest

ival

Ral

ph K

olta

iM

arko

Pau

los

Ju

ly

The

atre

, Chi

ches

ter

Mic

hael

Elli

ott

(d)

The

atre

Com

pany

Uni

vers

ity T

heat

re,

Ric

hard

Neg

riG

eorg

e H

all

Se

ptem

ber

Man

ches

ter

Jona

than

Mill

er (

d)M

erm

aid

(Pud

dle

John

Col

lins

(s);

Car

l Dav

is

June

Doc

k)R

osem

ary

Ver

coe

(c)

Phili

p M

inor

(d)

Min

neso

ta T

heat

reG

uthr

ie, M

inne

apol

isJo

hn J

ense

nJo

hn G

essn

er

June

Com

pany

Nag

el J

acks

on (

d)W

ashi

ngto

nSy

lvan

, Was

hing

ton

John

Pet

er H

alfo

rd (

c);

Sum

mer

Shak

espe

are

Sum

mer

D.C

.R

ober

t T

roll

(s)

Fest

ival

*Joh

n B

arto

n (d

)R

SCR

ST, S

trat

ford

Chr

isto

pher

Mor

ley,

cast

and

Ben

O

ctob

er

with

Ann

Cur

tisK

ings

ley

Stua

rt B

urge

(d)

Not

tingh

amR

obin

Arc

her

John

Lea

ch

Febr

uary

Play

hous

e,N

ottin

gham

Ric

hard

Dig

by D

ayN

ew S

hake

spea

reO

pen

Air

(R

egen

t’sK

it Su

rrey

(s)

;M

icha

el S

adle

r

May

Com

pany

Park

)H

ugh

Dur

rant

(c)

xxvi






*Pet

er H

all (

d)N

atio

nal T

heat

reO

ld V

icJo

hn B

ury

Gry

phon

M

arch

*Kei

th H

ack

(d)

RSC

The

Oth

er P

lace

,D

ebbi

e Sh

arpe

Step

hen

Oliv

er

Oct

ober

Stra

tfor

d

John

Har

riso

n (d

)L

eeds

Pla

yhou

se,

Kitt

y B

urro

ws

(c);

Paul

Tod

d

Oct

ober

;L

eeds

; Wyn

dham

’sSe

an C

avan

agh

(s)

tran

sfer

red

Fe

brua

ry

Gio

rgio

Str

ehle

r (d

)Pi

ccol

o T

eatr

o di

Tea

tro

Lir

ico,

Luc

iano

Dam

iani

Fio

renz

o C

arpi

(tra

nsla

tor:

Ago

stin

oM

ilano

Mila

n, &

tou

ring

Lom

bard

o)

*Clif

ford

Will

iam

s (d

)R

SCR

ST, S

trat

ford

Ral

ph K

olta

iG

uy W

oolfe

nden

A

pril

Pip

Sim

mon

s (d

and

a)

Pip

Sim

mon

s G

roup

Riv

ersi

de S

tudi

osM

aggi

e Jo

nes

(mas

ks)

Chr

is J

orda

n

May

Dav

id G

iles

(d)

Edi

nbur

gh F

estiv

alB

irm

ingh

am R

eper

tory

Ken

neth

Mel

lor

(s);

A

ugus

t

Prod

uctio

ns

The

atre

, Bir

min

gham

Paul

ine

Whi

teho

use

(c)

Mic

hael

Bog

dano

v (d

)Yo

ung

Vic

The

atre

Youn

g V

icPa

ul B

anni

ster

Step

hen

Box

er

Nov

embe

r

Com

pany

Ger

ald

Fre

edm

an (

d)A

mer

ican

Sha

kesp

eare

Sum

mer

The

atre

, Str

atfo

rd(C

onne

ctic

ut)

Tin

a Pa

cker

(d)

Shak

espe

are

&T

he M

ount

, Len

oxB

ill B

allo

u (s

);R

oger

Rey

nold

s

July

Com

pany

(Mas

sach

uset

ts)

Kik

i Sm

ith (

c)

Liv

iu C

iule

i (d)

Gut

hrie

, Min

neap

olis

Liv

iu C

iule

i (s)

;T

heod

or G

rigo

riu

Ju

ne

Jack

Edw

ards

(c)

John

Ret

alla

ck (

d)A

ctor

s T

ouri

ngT

reas

urer

’s H

ouse

,Jo

hn N

evill

e (s

);Pa

ul S

and

and

Chr

is

July

;C

ompa

nyYo

rk, a

nd t

ouri

ng;

Jean

Tur

nbul

l (c)

Bar

nes

revi

ved

Fe

brua

ryW

areh

ouse

xxvii






Ada

pter

/C

ompa

nyV

enue

Des

ign

Mus

icD

ate

offir

stac

tor-

man

ager

/pe

rfor

man

cedi

rect

or

Lee

Bre

uer,

with

New

Yor

k Sh

akes

pear

eD

elac

orte

(C

entr

alD

avid

Mitc

hell

(s);

Bar

bara

Ben

ary

Ju

ly

Rut

h M

alec

zech

(d)

Fest

ival

Park

), N

YC

arol

Odi

tz (

c)(g

amel

an);

Nan

aV

asco

ncel

es (

sam

ba);

Dis

ney

them

e so

ngs

John

Hir

sch

Stra

tfor

d Fe

stiv

al,

Des

mon

d H

eele

ySt

anle

y Si

lver

man

June

Ont

ario

*Ron

Dan

iels

(d)

RSC

RST

, Str

atfo

rd, a

ndM

aria

Bjo

rnso

nSt

ephe

n O

liver

A

ugus

t

;

tour

ing;

Bar

bica

ntr

ansf

erre

d

Sept

embe

r

Phili

p G

rout

(d)

St G

eorg

e’s

Lyn

Ave

ry (

c)Ia

n K

ella

m

Apr

il

Deb

orah

War

ner

(d)

Kic

k T

heat

reSt

Cut

hber

t’s H

alls

,Ja

cque

line

Gun

nSe

ptem

ber?

Com

pany

Edi

nbur

gh, a

nd t

ouri

ng

Gle

n W

alfo

rd (

d)E

very

man

, Liv

erpo

olSu

e M

ayes

Padd

y C

unne

en

Janu

ary

Les

ley

Arg

ent

(d)

Tro

uble

& S

trife

A.D

.C. T

heat

re,

Sam

anth

a H

odge

Fe

brua

ry

Cam

brid

ge

Nig

el J

amie

son

and

Com

pass

The

atre

Roy

al,

Mar

k N

egin

Ric

hard

Att

ree

O

ctob

er

Ant

hony

Qua

yle

(d)

Bri

ghto

n, a

nd t

ouri

ng

Leo

De

Ber

ardi

nis

(d)

Coo

pera

tiva

Nuo

vaT

eatr

o T

esto

ni/i

nter

Leo

De

Ber

ardi

nis

Ric

hard

Wag

ner,

Purc

ell,

A

pril

;(t

rans

lato

r: A

ngel

oSc

ena

Act

ion,

Bol

ogna

;A

nton

von

Web

ern,

re

vive

d Fe

brua

ryD

alla

giac

oma)

Thé

âtre

Gér

ard

John

Col

tran

e,

Phill

ippe

de

Sain

t-In

dian

gui

tar,

et a

l.D

enis

, Par

is

xxviii






Alfr

edo

Ari

as (

d)C

entr

e D

ram

atiq

ue?,

Avi

gnon

July

(tra

nsla

tor:

Jea

n-d’

Aub

ervi

llier

s an

dL

ouis

Cur

tis)

Gro

upe

TSE

Fes

tival

d’A

vign

on

Mat

thew

Fra

ncis

(d)

Chi

ches

ter

Stud

ioT

he T

ent,

Chi

ches

ter;

How

ard

Bur

den

Mia

Sot

erio

u

Sept

embe

r

;

Com

pany

Chi

ches

ter

Fest

ival

tran

sfer

red

The

atre

Oct

ober

Ron

an P

atte

rson

(d)

Nor

thum

berl

and

Fra

nk T

hom

pson

Janu

ary

The

atre

Com

pany

Rob

ert

Fal

ls (

d)G

oodm

an, C

hica

go

Ale

c B

ell (

d)N

ew V

icto

ria,

Nor

thN

ovem

ber?

Staf

ford

shir

e

Mic

hael

God

dard

(d)

Salfo

rd P

layh

ouse

,Fe

brua

ry/M

arch

?Sa

lford

*Pet

er H

all (

d)N

atio

nal T

heat

reC

otte

sloe

, and

tou

ring

;A

lison

Chi

tty

Har

riso

n B

irtw

istle

M

ay

;

Oliv

ier

tran

sfer

red

Se

ptem

ber

*Nic

hola

s H

ytne

r (d

)R

SCR

ST, S

trat

ford

;D

avid

Fie

ldin

gJe

rem

y Sa

ms

Ju

ly

;

Bar

bica

ntr

ansf

erre

d

May

Yuki

o N

inag

awa

Nin

agaw

a T

heat

rePl

ayho

use,

Edi

nbur

gh,

Tos

hiak

i Suz

uki (

s);

Ryu

do U

zaki

A

ugus

t

;

(tra

nsla

tor:

Yus

hiC

ompa

nyan

d to

urin

g; B

arbi

can

Lily

Kom

ine

(c)

revi

ved

D

ecem

ber

Oda

shim

a)

xxix






Ada

pter

/C

ompa

nyV

enue

Des

ign

Mus

icD

ate

offir

stac

tor-

man

ager

/pe

rfor

man

cedi

rect

or

*Jon

atha

n M

iller

(d)

Old

Vic

Ric

hard

Hud

son

Car

l Dav

is

Oct

ober

Dec

lan

Don

nella

n (d

)C

heek

by

Jow

lto

urin

g an

d D

onm

arN

ick

Orm

erod

Padd

y C

unne

enO

ctob

er?

;W

areh

ouse

N

ovem

ber

John

Gad

en (

d)St

ate

The

atre

Play

hous

e, A

dela

ide

Ken

Wilb

y

May

Com

pany

of

Sout

hern

Aus

tral

ia

Des

Jam

es (

d)R

iver

ina

Tru

ckin

gR

iver

ina

Play

hous

e,Ji

ll H

allid

ay

Aug

ust

Com

pany

Wag

ga W

agga

(Aus

tral

ia),

and

tour

ing

Patr

ick

Mitc

hell

(d)

La

Boi

te, B

risb

ane

And

rew

Ray

mon

dD

onal

d H

all

Fe

brua

ry

Gal

e E

dwar

ds (

d)M

elbo

urne

The

atre

Play

hous

e, M

elbo

urne

Ton

y T

ripp

Sam

Mal

let

M

ay

Com

pany

Nei

l Arm

field

(d)

Com

pany

BB

elvo

ir S

tree

t, Sy

dney

Bri

an T

hom

son

(s);

Ala

n Jo

hn

May

; r

eviv

edJe

nnie

Tat

e (c

)

May

Bra

ham

Mur

ray

(d)

Roy

al E

xcha

nge,

Joha

nna

Bry

ant

Chr

is M

onks

Se

ptem

ber

Man

ches

ter

Pete

r B

rook

(d)

Cen

tre

Inte

rnat

iona

lL

es B

ouff

es d

u N

ord,

Chl

oé O

bole

nsky

Har

ué M

omoy

ama,

et

al.

Oct

ober

;(t

rans

lato

r: J

ean-

de C

réat

ions

Pari

s; T

ram

way

,

Oct

ober

Cla

ude

Car

rièr

e)T

héât

rale

sG

lasg

ow

xxx






Mar

k R

ylan

ce (

d)Ph

oebu

s C

art

Rol

lrig

ht S

tone

Cir

cle,

Jenn

y T

iram

ani a

ndC

lare

van

Kam

pen

Ju

ne

;

June

O

xfor

dshi

re; G

lobe

W

ill H

argr

eave

s

build

ing

site

; and

tour

ing

John

Ret

alla

ck (

d)O

xfor

d St

age

tour

ing

Julia

n M

cGow

anH

owar

d G

ooda

ll

July

Com

pany

Jenn

ifer

Tip

ton

(d)

Gut

hrie

, Min

neap

olis

John

Con

klin

Lib

by L

arse

n (s

ongs

)

Oct

ober

And

rew

Hay

(d)

Bri

stol

Old

Vic

, Bri

stol

Mic

k B

earw

ish

John

O’H

ara

Se

ptem

ber

Rob

ert

Lep

age

(d)

Le

Thé

âtre

Rep

ère

Thé

âtre

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ng

xxxi






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