Shakespeare in the Theatre: An Anthology of Criticism
Shakespeare in the Theatre: An Anthology of Criticism
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Abstract
Shakespeare in the Theatre offers a rich, varied, and wonderfully evocative collection of eye-witness accounts of Shakespearian performances over the centuries. Theatre generates an excitement that stimulates fine prose: here are Hazlitt's famous accounts of Edmund Kean as Richard III and Hamlet, Bernard Shaw on Forbes-Robertson's Hamlet and his hilarious descriptions of Augustin Daly's productions, Max Beerbohm on Gordon Craig, and Kenneth Tynan on Olivier and Wolfit. Here too are lesser-known pieces by great writers: the German novelist Theodor Fontane on Charles Kean, Evelyn Waugh on Olivier, Virginia Woolf on Twelfth Night at the Old Vic. Taken together these pieces represent an appreciation of the work of the finest Shakespearian interpreters, and a survey of changing styles of Shakespearian production - ranging right across the canon - from the seventeenth century to the present, in England, America, and further afield. The post-war period is amply represented, right up to the present day, with vivid accounts of landmark productions by directors such as Peter Brook, Peter Hall, John Barton, Deborah Warner, Trevor Nunn, and Declan Donnellan. Stanley Wells introduces the volume with an essay on `Shakespeare and the Theatre Critics', and supplies each review with a helpful headnote and explanatory references.
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Front Matter
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Introduction
Critics Theatre Shakespeare
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[c.1700], Colley Cibber (167I-1757) on Thomas Betterton (1635-17Io) as Hamlet, from An Apology for the Life of Mr Colley Gibber (1740), ed. Robert W. Lowe, 2 vols. (1889), i. 100-2.
Critics Theatre Shakespeare
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[c.1738 ], Thomas Davies (c.1712-85) on Colley Cibber (1671-1757) at the Theatre Royal, Drury Lane, London, as Justice Shallow in Henry the Fourth, Part Two, from Dramatic Micellanies [sic], 3 vols. (1784), i. 306-7.
Critics Theatre Shakespeare
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[1744-68], Thomas Davies on David Garrick (1719-79) and Mrs Pritchard (17u-68) in Macbeth, from Dramatic Micellanies [sic], 3 vols. (1784), ii. 140-1, 148-9, 166-7; with James Boaden, Life OfMrs Siddons, 2 vols. (1827), ii. 140-2.
Critics Theatre Shakespeare
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Davies on Garrick as King Lear I742-76], Thomas Davies on David Garrick as King Lear, from Dramatic Micellanies [sic], 3 vols. (1784), ii. 318-20.
Critics Theatre Shakespeare
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[1774-5], Georg Christoph Lichtenberg (1742-99) on David Garrick as Hamlet in his own adaptation at the Theatre Royal, Drury Lane, London, from the Deutsches Museum, translated in Lichtenberg’s Visits to England, edited by M. L. Mare and W. H. 01iarrell (Oxford, 1938), pp. 9-n, 15-17-
Critics Theatre Shakespeare
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May 1776, Henry Bate (Sir Henry Bate Dudley, 1745-1824), on David Garrick as Lear at the Theatre Royal, Drury Lane, London, from The Morning Post, reprinted by James Agate in The English Dramatic Critics I660-I932 (n.d. [1932]), p. 61.
Critics Theatre Shakespeare
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[c.1790-6], Charles Lamb (1775-1834) on Robert Bensley (1742-1817) as Malvolio and James William Dodd (?1740-96) as Sir Andrew Aguecheek in Twe!fth Night, from ‘On Some of the Old Actors’, reprinted from The London Magazine (1822) in his Essays of Elia (1823).
Critics Theatre Shakespeare
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[1789-c.1817], Sir Walter Scott (1771-1832) on John Philip Kemble (1757-1823) as Macbeth (pp. 218-19) and on Coriolanus’ death scene (p. 224); from Scott’s review of James Boaden’s Memoirs of the Life of John Philip Kemble, in The Quarterly Review, 34 (June, 1826), pp. 196-248.
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[1789-c.1812], Julian Charles Young (died 1873) on J.P. Kemble as Coriolanus and Sarah Siddons (1755-1831) as Volumnia in Coriolanus at the Theatre Royal, Drury Lane, London, from his Memoirs of Charles Mayne Young (1840), pp. 40-1.
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February 1814, William Hazlitt (1778-1830) on Edmund Kean (1787 or 1789-1833) as Richard III at the Theatre Royal, Drury Lane, London, from The Morning Chronicle; reprinted in e.g. Hazlitt on Theatre, ed. William Archer and Robert Lowe (1895; repr. New York, n.d. (1957]), pp. 3-5.
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14 March 1814, William Hazlitt on Edmund Kean as Hamlet at the Theatre Royal, Drury Lane, London, from the Morning Chronicle, reprinted in Hazlitt on Theatre, ed. William Archer and Robert Lowe (1895; repr. New York, n.d. [1957]), pp. 10-14.
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21 January 1816, William Hazlitt on A Midsummer Night’s Dream, adapted by Frederic Reynolds (1764-1841) with music composed and arranged by Sir Henry Bishop , at the Theatre Royal, Covent Garden, London, from The Examiner, reprinted in Hazlitt on Theatre, ed. William Archer and Robert Lowe (1895; repr. New York, n.d. [1957]), pp. 73-6.
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4 November 1816, Leigh Hunt (1784-1859) on Edmund Kean as Timon of Athens at the Theatre Royal, Drury Lane, London, from The Examiner, reprinted in Leigh Hunt’s Dramatic Criticism I8o8-I8JI, ed. L. H. and C. W. Houtchens (New York, 1949), pp. 134-9.
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21 December 1817, John Keats (1795-1821) on Edmund Kean as a Shakespearian actor, and John Hamilton Reynolds (1796-1852) on Kean at the Theatre Royal, Drury Lane, London, as Richard, Duke of York in the play of that name adapted by John Herman Merivale (1779-1844) from Henry the Sixth, Parts One, Two, and Three; from The Champion, reprinted in The Poetical Works and Other Writings of john Keats, ed. H. Buxton Forman, revised with additions by Maurice Buxton Forman (Hampstead edition), 8 vols. (New York, 1939), v. 227-46.
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4 October 1818, Leigh Hunt on Edmund Kean as Othello at the Theatre Royal, Drury Lane, London, from The Examiner, reprinted in Leigh Hunt’s Dramatic Criticism I8o8-I8JI, ed. L. H. and C. W. Houtchens (New York, 1949), pp. 20I-2.
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31 October 1819, Leigh Hunt on William Charles Macready (1793-1873) as Richard III at the Theatre Royal, Covent Garden, London, from The Examiner, reprinted in Leigh Hunt’s Dramatic Criticism r808-r83r, ed. L. H. and C. W. Houtchens (New York, 1949), pp. 219-21.
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5 December 1819, Leigh Hunt on William Charles Macready as Coriolanus at the Theatre Royal, Covent Garden, London, from The Examiner, reprinted in Leigh Hunt’s Dramatic Criticism I8o8-I8JI, ed. L. H. and C. W. Houtchens (New York, 1949), pp. 223-5.
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25 April 1820, anonymous review of Edmund Kean as King Lear at the Theatre Royal, Drury Lane, London, from The Times, reprinted in Eyewitnesses of Shakespeare, edited by Ga.mini Salgado (1975), pp. 280-2.
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[1832], James E. Murdoch (18n-93) on Charles Kean (18n-68) as Posthumus in Cymbeline at the Arch Street Theatre, Philadelphia, from his The Stage, or Recollections of Actors and Acting from an Experience of Fifty Years: A Series of Dramatic Sketches (Philadelphia, 1880; repr. New York, 1969), pp. 146-8.
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[c.1837], Helena Faucit (1817-98), on herself as Hermione, with W. C. Macready as Leontes, in The Winter’s Tale, from her On Some of Shakespeare’s Female Characters (1885, revised 1891; sixth edn., 1899), pp. 385-91 (extracts).
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14 February 1838, John Forster on W. C. Macready as King Lear at the Theatre Royal, Covent Garden, London from The Examiner, 14 February, reprinted in Dramatic Essays by John Forster, George Henry Lewes, ed. William Archer and Robert W. Lowe (1896), PP· 48-54.
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18 March 1838, John Forster on W. C. Macready as Coriolanus at the Theatre Royal, Covent Garden, London, from The Examiner, reprinted in Dramatic Essays by John Forster, George Henry Lewes, ed. William Archer and Robert W. Lowe (1896), pp. 54-65.
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[1844], James Robinson Planche (1796—1880), description of Ben Webster’s neo-Elizabethan production of The Taming of the Shrew, from his Recollections and Reflections, 2 vols. (1872), ii. 83—6.
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15 October 1853, Henry Morley (1822-94) on A Midsummer Night’s Dream, produced by Samuel Phelps (1804-78) at the Sadler’s Wells Theatre, London, in his The Journal of a London Playgoer (1866; repr. 1891), pp. 56-61.
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21 October 1854, Henry Morley on Samuel Phelps’s production of Pericles at the Sadler’s Wells Theatre, London, in his The journal of a London Playgoer (1866; repr. 1891), pp. 78-84.
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[1856], Theodor Fontane (1819-98) on Charles Kean’s production of The Winter’s Tale at the Princess’s Theatre, London, translated by Russell Jackson from Fontane’s pamphlet Die Londoner Theater, mit besondere Rii.cksicht au/ Shakespeare (1858), reprinted in his collected Causerien uber Theater, vols. 22-3, pp. 7-n7, ed. Edgar Gross and Rainer Bachmann, in collaboration with Kurt Schreinert. The appended diary entry is from vol. 17 of the same edition, pp. 556-7-
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24 April 1858, Charles Kean’s production of (and performance in) King Lear, anonymous review from The Illustrated London News, reprinted in Eyewitnesses of Shakespeare, edited by Ga.mini Salgado (1975), pp. 28190.
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[c.1850-c.1860], Henry Austin Clapp (1841-1904), on Charlotte Cushman (1816-76) as een Katharine in Henry VIII, from his Reminiscences of a Dramatic Critic (Boston and New York, 1902), pp. 86-92.
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November 1874, Clement Scott (1841-1904) on Henry Irving (1838-1905) as Hamlet, at the Lyceum Theatre, London; from his ‘The Bells’ to ‘King Arthur’ (1896), pp. 6I-7.
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10 April 1875, Joseph Knight (1829-1907) on Tommaso Salvini (1829-1915) as Othello, from his Theatrical Notes (1875), pp. 19-25.
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[1879-1905), William Winter (1836-1919) on Henry Irving as Shylock, from his Shakespeare on the Stage (1912), pp. 179-97.
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8 November 1880, anonymous review from The Times on Edwin Booth (1833-93) as Hamlet at the Princess’s Theatre, London, reprinted in Shakespearean Criticism, vol. 21, ed. Joseph C. Tardiff (Detroit, Gale Research, 1993), pp. 69-70.
Critics Theatre Shakespeare
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[1887-c.1900], William Winter on Ada Rehan (1860-1916) as Kate in The Taming of the Shrew, from his Shakespeare on the Stage (1912), pp. 520-7 .
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6 July 1895, Bernard Shaw (1856-1959) on The Two Gentlemen of Verona, produced by Augustin Daly (1838-99) at Daly’s Theatre, London; from The Saturday Review, reprinted in Shaw on Shakespeare, pp. 192-7.
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15 July 1895, Bernard Shaw on Augustin Daly’s production of A Midsummer Night’s Dream at Daly’s Theatre, London, from The Saturday Review, reprinted in Shaw on Shakespeare, pp. 125-31.I
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2 October 1897, Bernard Shaw on Johnston Forbes-Robertson (1853-1937) as Hamlet at the Lyceum Theatre, London, from The Saturday Review, reprinted in e.g. Shaw on Shakespeare, pp. 80-8.
Critics Theatre Shakespeare
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1898, William Archer (1856-1924) on julius Caesar, produced by Herbert Beerbohm Tree (1853-1917) at Her Majesty’s Theatre, London, from The World; reprinted in his Study and Stage (1899), pp. 77-82.
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5 February 1898, St John Hankin (1869-1909) on Beerbohm Tree’s Julius Caesar, in The Academy, no. 1344, pp. 160-1, reprinted in Shakespearean Criticism, vol. 17, ed. Sandra Williamson (Detroit, Gale Research, 1992), pp. 308. 10
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30 September 1899, Max Beerbohm (1872-1956) on Beerbohm Tree’s production of King John at Her Majesty’s Theatre, London, from The Saturday Review, reprinted in his More Theatres (1969), PP· 191-3.
Critics Theatre Shakespeare
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13 November 1899, anonymous review of Richard II, produced by William Poel (1852-1934) in the lecture theatre of the University of London in Burlington Gardens, London, from The Times .
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4 December 1899, C. E. Montague (1867-1928) on Frank Benson (1858-1939) as Richard II, reprinted in The Manchester Stage I880-I900: Criticisms reprinted from ‘The Manchester Guardian’ (n.d.), pp. 76-87, and in Specimens of English Dramatic Criticism, ed. A. C. Ward (1945), pp. 223-32.
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30 May 1903, Max Beerbohm on Much Ado About Nothing at the Imperial Theatre, London, with Ellen Terry as Beatrice and designs by Gordon Craig, from The Saturday Review, reprinted in his More Theatres (1969), pp. 573-6.
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7 November 1903, Max Beerbohm on The Tempest at the Court Theatre, London, from The Saturday Review, reprinted in his Around Theatres (1953), pp. 293-7.
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8 April 1905, Max Beerbohm on H. B. Irving (1870-1928) as Hamlet at the Adelphi Theatre, London; from The Saturday Review, reprinted in his Last Theatres (1970), pp. 147-52.
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28 September 1912, John Palmer on The Winters Tale directed by Harley Granville Barker
Critics Theatre Shakespeare
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1January 1922, Harley Granville-Barker (1877-1946) on Twe!fth Night directed by Jacques Copeau (1879-1949) at the Vieux Colombier, Paris, from The Observer .
Critics Theatre Shakespeare
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November 1922, Stark Young (1881-1963) on John Barrymore(1882-1942) as Hamlet, directed by Arthur Hopkins, at the Sam H. Harris Theater, New York, from The New Republic, reprinted in his Immortal Shadows (New York and London, 1948; repr. New York, Dramabooks series, n.d., pp. 8-14).
Critics Theatre Shakespeare
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[1923], Herbert Farjeon (18811945) on Nigel Playfair’s production Of The Merry Wives of Windsor, with Edith Evans (1888-1976) as Mistress Page, at the Lyric Theatre, Hammersmith; from his The Shakespearean Scene ([1949]), pp. 20-1.
Critics Theatre Shakespeare
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30 August 1925, Hubert Griffith (1896-1953) on Hamlet directed by Barry Jackson (1879-1961) at the Kingsway Theatre, London, from The Observer, reprinted in Specimens of English Dramatic Criticism, ed. A. C. Ward (1945), pp. 301 n
Critics Theatre Shakespeare
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30 September 1933, Virginia Woolf (1882-1941), on Twelfth Night directed by Tyrone Guthrie (1900-71) at the Old Vic Theatre, London, from The New Statesmans reprinted in The Death of the Moth and Other Essays (1942; Harmondsworth, 1961, pp. 43-7).
Critics Theatre Shakespeare
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18 November 1934, James Agate (1877-1947) on John Gielgud (born 1904) as Hamlet in his own production at the New Theatre, London, from The Sunday Times, reprinted in his Brief Chronicles: A Survey of the Plays of Shakespeare and the Elizabethans in actual performance (1943), pp. 264-9.
Critics Theatre Shakespeare
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17 October 1935, James Agate on John Gielgud’s production of Romeo and Juliet at the New Theatre, London, with John Gielgud, Peggy Ashcroft (1907-91), Laurence Olivier (190189) and Edith Evans (1888-1976), from The Sunday Times, reprinted in his Brief Chronicles: A Survey of the Plays of Shakespeare and the Elizabethans in actual performance (1943), pp. 208-12.
Critics Theatre Shakespeare
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12 November 1937, John Mason Brown (1900-69) on Orson Welles’s production of Julius Caesar at the Mercury Theatre, New York, from The New York Post, reprinted in his Two on the Aisle: Ten Years of American Theatre in Performance (New York, 1938), pp. 38-43, and in Shakespearean Criticism, vol. 17, ed. Sandra Williamson (Detroit, Gale Research, 1992), pp. 319-21.
Critics Theatre Shakespeare
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[1944], Ronald Harwood (born 1934) on Donald Wolfit (1902-68) as Lear, in his Sir Donald Wolfit: His life and work in the unfashionable theatre (1971), pp. 160-4.
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[1944-5], Kenneth Tynan (1927-80) on Laurence Olivier (1907-89) at the New Theatre, London, as Richard III, in his He that Plays the King (1950), pp. 32-6.
Critics Theatre Shakespeare
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[1945-6], Kenneth Tynan on Laurence Olivier and Ralph Richardson (1902-83, knighted 1947), in Henry IV, Part One and Part Two, directed by John Burrell for the Old Vic Company at the New Theatre, London, from his He that Plays the King (i95°)> pp. 48-53-
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[1947], Kenneth Tynan on Donald Wolfit and Frederick Valk (1895-1956) in Othello at the Savoy Theatre, London, in his He that Plays the King pp. 84-8.
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23 July 1949, T. C. Worsley (1907-77) on Tyrone Guthrie’s production of Henry VIII, at the Memorial Theatre, Stratford upon-Avon, from The New Statesman, reprinted in his The Fugitive Art: Dramatic Commentaries I947-I95I (1952), pp. 87-91.
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[1950], Richard David (1912-93) on Measure far Measure directed by Peter Brook (born 1925) at the Shakespeare Memorial Theatre, Stratford-upon-Avon, with John Gielgud and Barbara Jefford, from Shakespeare Survey 4 (1951), pp. 135-8.
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2 September 1955, Evelyn Waugh (1902-66) on Titus Andronicus directed by Peter Brook at the Shakespeare Memorial Theatre, Stratford-upon-Avon, with Laurence Olivier as Titus; from The Spectator.
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[1959]? John Russell Brown (born 1923) on All’s Well that Ends Well directed by Tyrone Guthrie at the Shakespeare Memorial Theatre, Stratford-upon-Avon, from his review article “Three Adaptations’ in Shakespeare Survey 13 (i960), pp. 137—45; 140-2.
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[1959], Laurence Kitchin (born 1913) on Laurence Olivier as Coriolanus, directed by Peter HaU (born 1930) at the Shakespeare Memorial Theatre, Stratford-upon-Avon, from his Mid-Century Drama (i960), pp. 143-9
Critics Theatre Shakespeare
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[1962], Laurence Kitchin on Peter Brook’s production of King Lear, with Paul Scofield (born 1922) as Lear, at the Royal Shakespeare Theatre, Stratford-upon-Avon, from his Drama in the Sixties (1966), pp. 174-7.
Critics Theatre Shakespeare
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I May 1964, Ronald Bryden (born 1927) on Laurence Olivier as Othello at the Old Vic Theatre, London, from the Nevo Statesman, in his The Unfinished Hero and Other Essays (1969), pp. 21-3.
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27 August 1965, Ronald Bryden on Peter Halls production of Hamlet at the Royal Shakespeare Theatre, Stratford-upon-Avon, in his The Unfinished Hero and Other Essays (1969), pp. 63-6.
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1970, Robert Speaight (1904—76) on Peter Brook’s production of A Midsummer Night’s Dream at the Royal Shakespeare Theatre, Stratford-upon-Avon, from Shakespeare Quarterly, 21 (1970), PP-448—9
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[1973], Peter Thomson (born 1938) on Richard II directed by John Barton (born 1928) at the Royal Shakespeare Theatre, Stratford-upon-Avon, from Shakespeare Survey 27 (1974), pp. 151-4.
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[1976], Roger Warren (born 1943) on Macbeth, directed by Trevor Nunn at The Other Place, Stratford-upon-Avon, with Ian McKellen and Judi Dench, from Shakespeare Survey 30 (1977), PP-z77-8-
Critics Theatre Shakespeare
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[1978], Roger Warren on Love’s Labour’s Lost directed by John Barton at the Royal Shakespeare Theatre, Stratford-upon-Avon; from Shakespeare Survey 32 (1979), pp. 208-9.
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29June 1984, Stanley Wells (born 1930) on Antony Sher (born 1949) as Richard III, directed at the Royal Shakespeare Theatre, Stratford-upon-Avon, by Bill Alexander (born 1948); from the Times Literary Supplement, p. 729.
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[March 1985], Nicholas Shrimpton (born 1948) on a production of the First Quarto version of Hamlet at the Orange Tree Theatre, Richmond, Surrey, in Shakespeare Survey 39 (1987), pp. 193-7.
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[1985], Roger Warren on Howard Davies s production of Troilus and Cressida at the Royal Shakespeare Theatre, Stratford-upon-Avon, from Shakespeare Quarterly, yj (1986), pp. 116-18.
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[1986], Stanley Wells on Henry IV, Parts One and Two, and Henry V directed by Michael Bogdanov (born 1938) and performed on tour by the English Shakespeare Company, from Shakespeare Survey 41 (1989), pp. 159-62.
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II April 1987, Michael Billington (born 1939) on Antony and Cleopatra, directed by Peter Hall at the National Theatre, from The Guardian, reprinted in his One Night Stands: A Critics View of British Theatre from 1971-1991 (1993), pp. 278-80.
Critics Theatre Shakespeare
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[1987], Stanley Wells on Titus Andronicus, directed by Deborah Warner (born 1959) at the Swan Theatre, Stratford-upon-Avon, from Shakespeare Survey 41 (1989), pp. 178-81.
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[1989], Robert Smallwood (born 1941) on Othello^ directed by Trevor Nunn at The Other Place, Stratford-upon-Avon, from Shakespeare Quarterly^ 41 (1990), pp. 110-14.
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3 October 1990, Paul Taylor (born 1955) on The Tempest^ directed by Peter Brook; from The Independent.
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6 December 1991, Paul Taylor on As You Like It, directed by Declan Donnellan (born 1953) for the touring company Cheek by Jowl; from The Independent.
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[1992], Peter Holland (born 1951) on Richard III produced by Barrie Rutter for Northern Broadsides on tour, from Shakespeare Survey 47 (1994), pp. 185-7.
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[1996], Robert Smallwood on The Comedy of Errors, directed by Tim Supple for the Royal Shakespeare Company at The Other Place and on tour; from Shakespeare Survey 50 (1997), pp. 215-19.
Critics Theatre Shakespeare
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