Book contents
- Frontmatter
- The Challenges of Romeo and Juliet
- The Date and the Expected Venue of Romeo and Juliet
- The ‘Bad’ Quarto of Romeo and Juliet
- Shakespeare’s Romeo and Juliet: The Places of Invention
- ‘Death-marked love’: Desire and Presence in Romeo and Juliet
- Carnival and Death in Romeo and Juliet: A Bakhtinian Reading
- Ideology and the Feud in Romeo and Juliet
- Bawdy Puns and Lustful Virgins: The Legacy of Juliet’s Desire in Comedies of the Early 1600s
- Picturing Romeo and Juliet
- Nineteenth-Century Juliet
- ‘O, what learning is!’ Pedagogy and the Afterlife of Romeo and Juliet
- The Film Versions of Romeo and Juliet
- The Poetics of Paradox: Shakespeare’s Versus Zeffirelli’s Cultures of Violence
- ‘Lawful deed’: Consummation, Custom, and Law in All’s Well That Ends Well
- ‘Have you not read of some such thing?’ Sex and Sexual Stories in Othello
- French Leave, or Lear and the King of France
- The Actor as Artist: Harold Hobson’s Shakespearian Theatre Criticism
- Shakespeare Performances in England, 1994–1995
- Professional Shakespeare Productions in the British Isles, January-December 1994
- Critical Studies
- Shakespeare’s Life, Times, and Stage
- Editions and Textual Studies
- Books Received
- Index
Professional Shakespeare Productions in the British Isles, January-December 1994
Published online by Cambridge University Press: 28 March 2007
- Frontmatter
- The Challenges of Romeo and Juliet
- The Date and the Expected Venue of Romeo and Juliet
- The ‘Bad’ Quarto of Romeo and Juliet
- Shakespeare’s Romeo and Juliet: The Places of Invention
- ‘Death-marked love’: Desire and Presence in Romeo and Juliet
- Carnival and Death in Romeo and Juliet: A Bakhtinian Reading
- Ideology and the Feud in Romeo and Juliet
- Bawdy Puns and Lustful Virgins: The Legacy of Juliet’s Desire in Comedies of the Early 1600s
- Picturing Romeo and Juliet
- Nineteenth-Century Juliet
- ‘O, what learning is!’ Pedagogy and the Afterlife of Romeo and Juliet
- The Film Versions of Romeo and Juliet
- The Poetics of Paradox: Shakespeare’s Versus Zeffirelli’s Cultures of Violence
- ‘Lawful deed’: Consummation, Custom, and Law in All’s Well That Ends Well
- ‘Have you not read of some such thing?’ Sex and Sexual Stories in Othello
- French Leave, or Lear and the King of France
- The Actor as Artist: Harold Hobson’s Shakespearian Theatre Criticism
- Shakespeare Performances in England, 1994–1995
- Professional Shakespeare Productions in the British Isles, January-December 1994
- Critical Studies
- Shakespeare’s Life, Times, and Stage
- Editions and Textual Studies
- Books Received
- Index
Summary
Most of the productions listed are by professional companies, but a number of productions with mixed amateur and professional casts have been included. Information is mainly taken from newspaper reviews held in the Birmingham Shakespeare Library. Notable this year has been the increasing number of professional or semi-professional companies performing at open-air sites such as National Trust houses and Oxford and Cambridge college gardens, exploiting the link between Shakespeare and the tourist industry. There is also an increasing number of small touring companies, probably a response to the effect of the recession on professional theatre: an interesting twentieth-century version of the strolling players tradition.
ANTONY AND CLEOPATRA
The Court Theatre Company at the Courtyard Theatre, King's Cross, London: May 1994
Director: Adrian Brown
Antony: Hayward Morse
Cleopatra: June Abbot
The Berliner Ensemble and Wiener Festwochen at the King's Theatre, Edinburgh: August 1994
German translation by Elisabeth Plessen
Director: Peter Zadek
Designer: Wilfried Minks
Antony: Gert Voss
Cleopatra: Eva Mattes
First performance, Berlin, May 1994; also performed in Vienna and Amsterdam.
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- Chapter
- Information
- Shakespeare Survey , pp. 269 - 280Publisher: Cambridge University PressPrint publication year: 1996