The year 2002 has been busy and eventful for the Shakespearian theatre in England, with important and much-publicized productions in each of the Folio’s generic categories. Conveniently for a year in which Shakespeare Survey has focused on Shakespearian comedy, the overwhelming majority of these have been of comedies. Early in the year Mark Rylance’s Globe company performed Twelfth Night in the Hall at Middle Temple, in honour of the 400th anniversary of John Manningham’s seeing the same play there in 1602. Lucy Bailey’s joyous A Midsummer Night’s Dream played at the Royal Exchange in Manchester in the spring, while Greg Doran’s stylish but unsurprising Much Ado About Nothing was opening at the Royal Shakespeare Theatre. In the early summer another detachment of the RSC performed a season of three late romances at the Roundhouse in London, including an appealing Pericles directed by Adrian Noble; and the autumn saw Sam Mendes’s valedictory Twelfth Night and Michael Grandage’s magisterial The Tempest sell out the Donmar in London and the Crucible in Sheffield respectively.