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Considers the first tetralogy in light of "early modern 'politic' writers such as Niccolò Machiavelli and Francesco Guicciardini." Focuses on power, ethics, strategy, and fortuna and virtù. Positions Stanley as "the True Machiavellian of Richard III."
English-language annotated edition based on The Oxford Shakespeare: Modern Critical Edition (q.v.). Preface by series editor Emma Smith; chronology by Jesse Astley; introduction by Lauren Working.
Explores how "the sense of touch underpins performance and its reception in the early modern
playhouse," considering tactile experiences and affective responses of audience members at the 2006 Globe production of Titus Andronicus (q.v.).
Includes one essay on Shakespeare.
Considers ethics of complaint in Shakespeare's works, focusing on narrative and desire in "A Lover's Complaint"; responses to suffering in King Lear; conscience in Richard III; sublime motivation and irrationality in Hamlet; audience and the female complaint genre in Rape of Lucrece; and deathbed complaint and ethical authority in Othello.
Musical director, Hilary Belsey. Composer, Grant Olding. Designer, Paul Wills. Fight Director, Maisie Carter. Costumes by Jacquie Davies.
With Daniel Adeosun (Antipholus of Syracuse), Gabrielle Brooks (Adriana), Roman Hayeck-Green (Officer / Cover), Shalisha James-Davis (Luciana), Christopher Logan (Angelo), Phoebe Naughton (Courtesan / First Merchant), Danielle Phillips (Second Merchant / Luce), Martin Quinn (Dromio of Syracuse), Anita Reynolds (Abbess), Paul Rider (Egeon), Caleb Roberts (Antipholus of Ephesus), Rhys Rusbatch (Duke / Pinch), LIzzie Schenk (Ephesian / Cover), Sam Swann (Dromio of Ephesus).
Suggests that in the Mugen-Noh Othello (2005 & 2018), Sukehiro Hirakawa and Satoshi Miyagi positions Desdemona as the shite (Noh protagonist) and gives her voice. English summary, 105; Japanese summary 117.
Relates how Satoshi Miyagi's Noh Othello (q.v.) repositioned the entire play as a Kafka-esque "memory recollected and enacted by the Ghost of Desdemona." Explores how this production emphasizes "true love" in a world of inequality. English summary, online.
Describes how George Bernard Shaw's Cymbeline Refinished (1936) rewrites the final act to emphasize "English and Roman syncretism." English summary, 81.
Sophie Creaner, musical director. Tim Sutton, composer. Siân Williams, choreographer.
Performed without full rehearsals and actors only given cue scripts. With Matthew Broome (Sebastian), Paul Chahidi (Feste), 'Tomiwa Edun (Orsino), Richard Katz (Sir Toby Belch), Stephen Mangan (Malvolio), Rebekah Murrell (Viola), Paul ready (Sir Andrew Aguecheek), Sirine Saba (Maria/Curio), Michelle Terry (Olivia), Howard Ward, Jamie Wilkes (Antonio), and Jacoba Williams (Fabian/Sea Captain).