If there is one cry heard more often than any other when the state of the arts in England is being discussed, it is the accusation that the arts are treated far too much of the time as if nothing significant ever happens outside London. Sponsorship, Arts Council grants and, above all, press coverage are all subject to the grave charge of being London-centred. For a theatre production to be reviewed in the national press it seems it must travel to London before it can be noticed. Of course the claim is put too strongly; of course theatre reviewers are occasionally to be seen in the regions and some papers have regional reviewers of great brilliance. Yet there is truth in the argument nonetheless.

For Shakespearians in England the similar accusation might be 'Stratford-centrism'. Niky Rathbone's listings in Survey show the extraordinary quantity of Shakespeare activity in the professional theatre across the country. Yet few Shakespearians, even those most devoted to productions, see more than a tiny fragment of it.

But, even for the most Stratford-centred, it was striking how firmly the centre of attention to the Shakespeare theatre industry shifted to London at the close of 1992 and early in 1993. The RSC opened a Shakespeare production in London; an innovative touring production arrived at the Riverside; the Royal Court, the Royal National Theatre and the West End were all responsible for important productions.