Book contents
- Frontmatter
- Shakespeare and Sexuality
- As Who Liked It?
- Malvolio and the Eunuchs: Texts and Revels in Twelfth Night
- The Scandal of Shakespeare’s Sonnets
- Weaving and Writing in Othello
- ‘That’s She that was Myself’: Not-so-Famous Last Words and Some Ends of Othello
- ‘The Catastrophe is a Nuptial’: The Space of Masculine Desire in Othello, Cymbeline, and The Winter’s Tale
- Reconstructing The Winter’s Tale
- Late Shakespeare: Style and the Sexes
- The Virgin Not: Language and Sexuality in Shakespeare
- Fleshing his Will in the Spoil of her Honour: Desire, Misogyny, and the Perils of Chivalry
- Bowdler and Britannia: Shakespeare and the National Libido
- Shakespeare and the Ten Modes of Scepticism
- Shakespeare Performances in England, 1992
- Professional Shakespeare Productions in the British Isles, January-December 1991
- 1 Critical Studies
- 2 Shakespeare’s Life, Times, and Stage
- 3 Editions and Textual Studies
- Books Received
- Index
Professional Shakespeare Productions in the British Isles, January-December 1991
Published online by Cambridge University Press: 28 March 2007
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Book contents
- Frontmatter
- Shakespeare and Sexuality
- As Who Liked It?
- Malvolio and the Eunuchs: Texts and Revels in Twelfth Night
- The Scandal of Shakespeare’s Sonnets
- Weaving and Writing in Othello
- ‘That’s She that was Myself’: Not-so-Famous Last Words and Some Ends of Othello
- ‘The Catastrophe is a Nuptial’: The Space of Masculine Desire in Othello, Cymbeline, and The Winter’s Tale
- Reconstructing The Winter’s Tale
- Late Shakespeare: Style and the Sexes
- The Virgin Not: Language and Sexuality in Shakespeare
- Fleshing his Will in the Spoil of her Honour: Desire, Misogyny, and the Perils of Chivalry
- Bowdler and Britannia: Shakespeare and the National Libido
- Shakespeare and the Ten Modes of Scepticism
- Shakespeare Performances in England, 1992
- Professional Shakespeare Productions in the British Isles, January-December 1991
- 1 Critical Studies
- 2 Shakespeare’s Life, Times, and Stage
- 3 Editions and Textual Studies
- Books Received
- Index
Summary
Most of the productions listed are by professional companies, but some amateur productions and adaptations are included. Information is taken from programmes, supplemented by reviews, held in the Birmingham Shakespeare Library. Details have been verified wherever possible, but the nature of the material prevents corroboration in every case.
ANTONY AND CLEOPATRA
Commonweal Theatre Company, the Shaw Theatre, London and tour of South West England: 9 April 1991
Director: Tony Hegarty
Music/Enobarbus: Max Hafler
Antony: Andrew McDonald
Cleopatra: Susan Curnow
The set used Egyptian lettering to symbolize Egypt and Roman to symbolize Rome. The Romans, in black, recalled Mussolini's Fascists.
Talawa Theatre Company, the Everyman Theatre, Liverpool and tour: 24 April 1991
Director: Yvonne Brewster
Designer: Helen Turner
Antony: Jeffery Kissoon
Cleopatra: Dona Croll
An all-black cast.
Birmingham Repertory Theatre: 6 April-4 May 1991
Director: John Adams
Designer: Roger Butlin
Antony: Malcolm Tierney
Cleopatra: Sylvia Syms
A traditional production.
Adaptation
All for Love by John Dryden
The Almeida Theatre, Islington, London: 25 April 1991
Director: Jonathan Kent
Designers: Peter J. Davison and Sue Willmington
Music: Jonathan Dove
Antony: James Laurenson
Cleopatra: Diana Rigg
Information
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- Shakespeare Survey , pp. 191 - 204Publisher: Cambridge University PressPrint publication year: 1993
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