Book contents
- Frontmatter
- Looking Like a Child – or – Titus: The Comedy
- Comedy and Epyllion in Post-Reformation England
- (Peter) Quince: Love Potions, Carpenter’s Coigns and Athenian Weddings
- ‘When Everything Seems Double’: Peter Quince, the other Playwright in A Midsummer Night's Dream
- Cultural Materialism and Intertextuality: The Limits of Queer Reading in A Midsummer Night's Dream and The Two Noble Kinsmen
- As You Liken It: Simile in the Wilderness
- Infinite Jest: The Comedy of Hamlet, Prince of Denmark
- Othello and the End of Comedy
- Shakespeare as a Joke: The English Comic Tradition, A Midsummer Night’s Dream and Amateur Performance
- Falstaff’s Belly, Bertie’s Kilt, Rosalind’s Legs: Shakespeare and the Victorian Prince
- The Sixth Act: Shakespeare after Joyce
- The Return of Prospero’s Wife: Mother Figures in The Tempest’s Afterlife
- Directing Shakespeare’s Comedies: In Conversation with Peter Holland
- ‘To Show our Simple Skill’: Scripts and Performances in Shakespearian Comedy
- John Shakespeare’s ‘Spiritual Testament’: A Reappraisal
- Shakespeare as a Force for Good
- Timon of Athens and Jacobean Politics
- Man, Woman and Beast in Timon’s Athens
- Rough Magic: Northern Broadsides at Work at Play
- Shakespeare Performances in England, 2002
- Professional Shakespeare Productions in the British Isles January–December 2001
- The Year's Contributions to Shakespearian Study 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 2001
Published online by Cambridge University Press: 28 March 2007
- Frontmatter
- Looking Like a Child – or – Titus: The Comedy
- Comedy and Epyllion in Post-Reformation England
- (Peter) Quince: Love Potions, Carpenter’s Coigns and Athenian Weddings
- ‘When Everything Seems Double’: Peter Quince, the other Playwright in A Midsummer Night's Dream
- Cultural Materialism and Intertextuality: The Limits of Queer Reading in A Midsummer Night's Dream and The Two Noble Kinsmen
- As You Liken It: Simile in the Wilderness
- Infinite Jest: The Comedy of Hamlet, Prince of Denmark
- Othello and the End of Comedy
- Shakespeare as a Joke: The English Comic Tradition, A Midsummer Night’s Dream and Amateur Performance
- Falstaff’s Belly, Bertie’s Kilt, Rosalind’s Legs: Shakespeare and the Victorian Prince
- The Sixth Act: Shakespeare after Joyce
- The Return of Prospero’s Wife: Mother Figures in The Tempest’s Afterlife
- Directing Shakespeare’s Comedies: In Conversation with Peter Holland
- ‘To Show our Simple Skill’: Scripts and Performances in Shakespearian Comedy
- John Shakespeare’s ‘Spiritual Testament’: A Reappraisal
- Shakespeare as a Force for Good
- Timon of Athens and Jacobean Politics
- Man, Woman and Beast in Timon’s Athens
- Rough Magic: Northern Broadsides at Work at Play
- Shakespeare Performances in England, 2002
- Professional Shakespeare Productions in the British Isles January–December 2001
- The Year's Contributions to Shakespearian Study 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 are included. The information is taken from Touchstone (http://www.touchstone.bham.ac.uk), a Shakespeare website maintained by the Shakespeare Institute Library. Touchstone includes a monthly list of current and forthcoming UK Shakespeare productions from listings information. The Traffic of the Stage database, also available on Touchstone, archives UK Shakespeare production information since January 1999, correlating information from listings with reviews held in the Shakespeare Institute Library. The websites provided for theatre companies were accurate at the time of going to press.
All’s Well that Ends Well
Stamford Shakespeare Company. Tolethorpe Hall, Stamford: 1 June – 28 July
http://www.stamfordshakespeare.co.uk
Amateur Shakespeare production.
As You Like It
Royal Shakespeare Company. The Pit, London: 2 January – 7 February 2001. http://www.rsc.org.uk
Transfer from Royal Shakespeare Theatre: March 2000
Director: Gregory Doran
Designer: Kaffe Fassett, Niki Turner
Rosalind: Alexandra Gilbreath
British Touring Shakespeare Company. Open-air touring production: 23 June – 3 August 2001.
http://www.btsc.homestead.com
Director: Miles Gregory
Creation Theatre Company and Oxford Stage Company. Magdalen College School Grounds, Oxford: 16 July – 1 September 2001. Open-air production. http://www.creationtheatre.co.uk
Director: Charlotte Conquest
- Type
- Chapter
- Information
- Shakespeare SurveyAn Annual Survey of Shakespeare Studies and Production, pp. 287 - 299Publisher: Cambridge University PressPrint publication year: 2003