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Describes how introduction of gas lights to London theatres emphasized intensity and melodrama, using Edmund Kean's performance as King Lear as example.
Considers importance of empty chair in Macbeth's banquet scene as royal throne and seat of power. Explores Richard II's anointment with oil in terms of political theology.
Details "the deliberate and extraordinary lengths to which Britain went to project its own preferred version of Shakespeare overseas in the mid-twentieth century." Analyzes Hamlet productions in the Mediterranean in the 1930s and 40s; Vivian Leigh and Laurence Olivier's 1948 Commonwealth Tour of Australia and New Zealand with the Old Vic, focusing on Richard III and Othello; cold war productions in the Soviet Union of Hamlet and Titus Andronicus; a 1963 tour of Macbeth in Nigeria by the Nottingham Playhouse; and 1960s productions of Tempest, Richard II, and Taming of the Shrew in South and Southeast Asia.
Autobiographical interviews. Reflects on experiences performing Shakespeare plays. Introduction by Brandon O'Hea; interviews by O'Hea. Audiobook narrated by Barbara Flynn, with O'Hea and Dench (Macmillan Audio, 2024).
Autobiography. Discusses acting including at the Royal Shakespeare Company. Audiobook read by the author (Simon & Schuster Audio 2023).
Suggests that Tempest presents a wunderkamer (cabinet of curiosities), where the island and Prospero's books both present wonders. Points to aura, fetish, and indigenous response to Renaissance epistemologies of romance genre and wunderkamer.
Demonstrates how Leopold Jessner's productions of Shakespeare's plays, starring Fritz Kortner, embodied anti-realist expressionist aesthetics and political theatre. English and Turkish summaries, 63.
Considers masculinity in Shakespeare's and Verdi's Falstaff characters. English and Turkish summaries, 82-83.
Shows how Dogberry's malapropisms and fooling offers social commentary that critiques institutional power. English summary, 115.
Imagines early productions of Othello and their reception. Explores Aphra Behn's interpretations of Othello in Oroonoko, Herman Melville's deployment of Othello in "Benito Cereno," and first Lady Abigail Adams's investment in Sarah Siddons's performance as Desdemona (1785). Traces early American performances of Othello including for indigenous audiences and audience members.