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Shakespeare's Rosalind and Her Public Image

Published online by Cambridge University Press:  23 January 2009

Mary Hamer
Mary Hamer
Affiliation:
Mary Hamer is aSenior Lecturer atHomerton College, Cambridge.
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Extract

When Adrian Noble directed Measure for Measure at the RSC in 1983–4, colour supplement coverage focused on the costumes: the exuberance of the production was indicated by the extravagance of the designs. On 25 April 1985, before the opening of the director's new As You Like It, the Sunday Times Magazine ran an interview with him and with his Rosalind, Juliet Stevenson. There was a sense, not merely to be put down to the artificial hype of the publicity machine, that a new production and above all a new Rosalind were matters of concern and interest to a wide range of consumers of life's good things. Noble's Measure for Measure had been covered almost as a design story but As You Like It was treated very differently. Noble's views on the significance of the retreat into Arden were sought and reported: there was an underlying assumption that the readership had a stake in the representation of this play, that what was being staged was a property held in common by the journal's readers and that the play had a place in the public imagination independently of what directors did with it.

Type
Articles
Information
Theatre Research International , Volume 11 , Issue 2 , Summer 1986 , pp. 105 - 118
Copyright
Copyright © International Federation for Theatre Research 1986

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References

Notes

1. See Trewin, J. C., Shakespeare on the English Stage 1900–64 (London, 1964), p. 39.Google Scholar

2. Quoted Salgado, G., Eyewitnesses to Shakespeare (London, 1975), p. 50.Google Scholar

3. In Shakespeare from Betterton to Irving (2 vols., New York, 1920).Google Scholar

4. Ibid., vol. 1, pp. 262–3.

5. Ibid., vol. 2, p. 20.

6. Quoted in ‘The stage history of As You Like It’, in SirQuiller-Couch, Arthur and Wilson, John Dover (eds.), As You Like It, paperback edn., (Cambridge, 1968), p. 168.Google Scholar

7. See Vickers, Brian, Shakespeare The Critical Heritage (6 vols., London, 1974–1981)Google Scholar; vol. 2, pp. 196, 244, 511; vol. 3, pp. 234, 284, 302, 304; vol. 4, pp. 151–4, 356.

8. Quoted Salgado, , p. 163.Google Scholar

9. Quoted in ‘English criticisms’, in Furness, H. H. (ed.), As You Like It, New Variorum paperback edn. (New York, 1963), p. 394.Google Scholar

10. Ibid.

11. Ibid., p. 395.

12. Hallam, quoted by Furness, , p. 396.Google Scholar

13. Dowden, quoted by Furness, , p. 402.Google Scholar

14. Moberley, quoted by Furness, , p. 398.Google Scholar

15. Furness, , p. 395.Google Scholar

16. Ibid., p. 404.

17. Ibid., p. 406.

18. Ibid.

19. Ibid., p. 403.

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22. Ibid., p. 386.

23. Quoted Salgado, , p. 167.Google Scholar

24. Ibid.

25. See Baron, Wendy, Sickert (London, 1973), pp. 174–6, 383–5Google Scholar and Browse, Lilian, Sickert, (London, 1960), p. 49.Google Scholar

26. See Going to Shakespeare (London, 1978).Google Scholar

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28. As You Like It, Epilogue, taken from Arden edition, Latham, Agnes (ed.), (London, 1974).Google Scholar

29. Stratford-upon-Avon Herald, 5 04 1957.Google Scholar