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SHAKESPEARE IN PRODUCTION
Shakespeare’s last play seems unusually elastic, capable of radically differ-ent interpretations, which reflect the social, political, scientific or moralconcerns of their period. This edition of The Tempest is the first dedicatedto its long and rich stage history. Drawing on a wide variety of sources, itexamines four centuries of mainstream, regional and fringe productions in Britain (including Dryden and Davenant’s Restoration adaptation),nineteenth- and twentieth-century American stagings, and recent Australian, Canadian, French, Italian and Japanese productions.
In a substantial, illustrated introduction Dr Dymkowski analyses thecultural significance of changes in the play’s theatrical representation: forexample, when and why Caliban began to be represented by a black actor,and Ariel became a man’s role rather than a woman’s. The commentaryannotates each line of the play with details about acting, setting, textualalteration and cuts, and contemporary reception.
With extensive quotation from contemporary commentators and detailfrom unpublished promptbooks, the edition offers both an accessibleaccount of the play’s changing meanings and a valuable resource for furtherresearch.
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SHAKESPEARE IN PRODUCTION : . .
This series offers students and researchers the fullest possible stagingof individual Shakespearean texts. In each volume a substantial intro-duction presents a conceptual overview of the play, marking out themajor stages of its representation and reception. The commentary, presented alongside the New Cambridge edition of the text itself,offers detailed, line-by-line evidence for the overview presented in theintroduction, making the volume a flexible tool for further research.The editors have selected interesting and vivid evocations of settings,acting and stage presentation and range widely in time and space.
A Midsummer Night’s Dream, edited by Trevor R. GriffithsMuch Ado About Nothing, edited by John F. Cox
Antony and Cleopatra, edited by Richard MadelaineHamlet, edited by Robert Hapgood
Macbeth, edited by John WildersJulius Caesar, edited by James RigneyKing Henry V, edited by Emma Smith
Romeo and Juliet, edited by James N. LoehlinThe Taming of the Shrew, edited by Elizabeth SchaferThe Merchant of Venice, edited by Charles Edelman
As You Like It, edited by Cynthia MarshallTroilus and Cressida, edited by Frances Shirley
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T H E T E M P E S T
� ��
Reader in Drama and Theatre,
Royal Holloway, University of London
�
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First published 2000
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Library of Congress Cataloging in Publication DataShakespeare, William, –.
The Tempest / edited by Christine Dymkowski.p. cm. – (Shakespeare in production)
Includes bibliographical references (p. ) and index. (hb)
. Survival after airplane accidents, shipwrecks, etc – Drama. . Shakespeare, William, - – Stage history. . Shakespeare, William, –. Tempest.
. Fathers and daughters – Drama. . Castaways – Drama. 6. Magicians – Drama.I. Dymkowski, Christine, – II. Title. III. Series.
.
.¢ – dc -
hardback paperback
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For Pauline
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CONTENTS
List of illustrations page viii
Series editors’ preface ix
Acknowledgements xi
Editor’s note xii
List of abbreviations xiv
List of productions xix
Introduction
List of characters
The Tempest and commentary
Appendix : selected textual variations
Appendix : list of principal players
Bibliography
Index
vii
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ILLUSTRATIONS
Michael Fitzgerald as Prospero, with multiple Ariels, in SilviuPurcarete’s production. By courtesy and kind permission ofNottingham Playhouse. Photo: Sean Hudson. page
Leah Hanman as Ariel in Frank Benson’s production. By permissionof the Shakespeare Centre Library, Stratford-upon-Avon.
Michael Redgrave as Prospero and Alan Badel as Ariel in MichaelBenthall’s production. By permission of the ShakespeareCentre Library, Stratford-upon-Avon. Photo: Angus McBean.
Ralph Richardson as Prospero and Margaret Leighton as Ariel inMichael Benthall’s revival. By permission of Hulton GettyPicture Collection. Photo: Central Press Photos, the ShakespeareCentre Library, Stratford-upon-Avon.
The masque in Declan Donnellan’s production. By permissionof photographer Robert Workman.
The masque in Jonathan Miller’s production. By permission ofphotographer Simon Annand.
Thomas Grieve’s set for Act , Scene of Charles Kean’s
production. By permission of V & A Picture Library.
Page of The Sketch, September , showing scenes andcharacters from Herbert Beerbohm Tree’s production. By kindpermission of The British Library (Shelfmark LD).
Act I, Scene of John Barton’s production, designed byChristopher Morley with Ann Curtis. By permission ofphotographer Zoë Dominic.
Act , Scene of Peter Brook’s production, designed by thedirector. By permission of the Shakespeare Centre Library,Stratford-upon-Avon. Photo: Angus McBean.
Act , Scene of Nicholas Hytner’s production, designed byDavid Fielding. By permission of the Shakespeare Centre Library,Stratford-upon-Avon (Joe Cocks Studio Collection). Photo: JoeCocks.
Michael Maloney as Ferdinand, Mark Rylance as Ariel, DerekJacobi as Prospero, and Alice Krige as Miranda in Ron Daniels’s production, designed by Maria Bjornson. By permission ofphotographer Donald Cooper © Photostage.
viii
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SERIES EDITORS’ PREFACE
It is no longer necessary to stress that the text of a play is only its starting-point, and that only in production is its potential realized and capable ofbeing appreciated fully. Since the coming-of-age of Theatre Studies as anacademic discipline, we now understand that even Shakespeare is only one collaborator in the creation and infinite recreation of his play upon the stage. And just as we now agree that no play is complete until it is produced, so we have become interested in the way in which plays oftenproduced – and preeminently the plays of the national Bard, WilliamShakespeare – acquire a life history of their own, after they leave the handsof their first maker.
Since the eighteenth century Shakespeare has become a cultural con-struct: sometimes the guarantor of nationhood, heritage and the status quo,sometimes seized and transformed to be its critic and antidote. This latterrole has been particularly evident in countries where Shakespeare has to betranslated. The irony is that while his status as national icon grows in theEnglish-speaking world, his language is both lost and renewed, so that forgood or ill, Shakespeare can be made to seem more urgently ‘relevant’ thanin England or America, and may become the one dissenting voice that thecensors mistake as harmless.
‘Shakespeare in Production’ gives the reader, the student and the scholara comprehensive dossier of materials – eye-witness accounts, contempo-rary criticism, promptbook marginalia, stage business, cuts, additions andrewritings – from which to construct an understanding of the many mean-ings that the plays have carried down the ages and across the world. Thesematerials are organized alongside the New Cambridge Shakespeare text ofthe play, line by line and scene by scene, while a substantial introductionin each volume offers a guide to their interpretation. One may trace anargument about, for example, the many ways of playing Queen Gertrude,or the political transmutations of the text of Henry V; or take a scene, anact or a whole play, and work out how it has succeeded or failed in presen-tation over four hundred years.
For despite our insistence that the plays are endlessly made and remadeby history, Shakespeare is not a blank, scribbled upon by the age. Theatrehistory charts changes, but also registers something in spite of thosechanges. Some productions work and others do not. Two interpretations
ix
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may be entirely different, and yet both will bring the play to life. Why?Without setting out to give absolute answers, the history of a play in thetheatre can often show where the energy and shape of it lie, what has madeit tick, through many permutations. In this way theatre history can findcommon ground with literary criticism. Both will find suggestive directionsin the introductions to these volumes, while the commentaries provide rawmaterial for readers to recreate the living experience of theatre, and becometheir own eye-witnesses.
J. S. BrattonJulie Hankey
This series was originated by Jeremy Treglown and published by JunctionBooks, and later by Bristol Classical Press, as ‘Plays in Performance’. Fourtitles were published; all are now out of print.
x Series editors’ preface
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ACKNOWLEDGEMENTS
I would like to thank Royal Holloway, University of London, for one term’ssabbatical leave in , , and ; the British Academy for a per-sonal research grant that allowed a fortnight’s research in Stratford; theSociety for Theatre Research for a grant that helped with the acquisitionof illustrations; and the copyright holders for permission to reproducethem. I have had enormous help from David Ward of my college library,as well as all the staff at the Shakespeare Centre Library in Stratford (espe-cially Karin Brown and Sylvia Morris) and the Theatre Museum inLondon (especially Andrew Kirk). I am very grateful to Andrew Gurr for his advice, generous sharing of knowledge and practical help, whichincluded using some of his own research time at the Folger ShakespeareLibrary to answer my queries; Julie Hankey for patiently working her waythrough many trees to help me see the wood; Jacky Bratton for combiningthe good offices of an editor with the kindnesses of a friend; Sarah Stantonfor her patience and understanding; David Lindley for his helpful com-ments and forbearance; Elisabetta Noto for translating the reviews of DeBerardinis’s production and explaining their references to Italian culture;Joyce Carter for making available her work on Paige’s production; IreneAlexander for facilitating my research at the Royal National Theatre; SarahMorris of the University of Bristol Theatre Collection for locating pho-tographs of Miller’s production; Lynette Goddard and HannahRudman for help, respectively, with the bibliography and word-processing;and Audrey Cotterell for her painstaking copy-editing. The many otherswho gave me access to material on particular productions are credited infootnotes to the relevant sections of the Introduction. My greatest debt isto my parents and to Pauline Gooderson, who has lived with this projectas long as I have and who, besides translating French and German reviews,has done so much to help me complete it.
xi
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EDITOR’S NOTE
The play-text printed here uses the readings established by David Lindleyfor the New Cambridge Shakespeare; however, the stage directions asprinted in the Folio have been restored, and, in line with the policy of thisseries, not all additional editorial directions have been adopted. Similarly,the lineation of NCS has, for ease of reference, occasionally been modified.
Shakespeare’s play is discussed in the present historical tense, and pro-ductions of it in the past tense. Ariel, who has been played by both femaleand male actors throughout the play’s production history, is referred to as‘she’ when played by a woman and ‘he’ when played by a man, in order tokeep the actor in the reader’s mind; this usage, however, suggests a consis-tent attitude that did not necessarily exist in the productions themselves.(For example, Ariel, played by Viola Tree in H. B. Tree’s production,is called ‘he’ in the printed version of the text and ‘she’ in the hand-writtenpromptbook notes.) The Commentary calls characters by their Shake-spearean names even when they have been slightly modified by lateradapters (e.g., Alonso’s and Antonio’s names are sometimes spelled‘Alonzo’ and ‘Anthonio’); the one exception is Dryden and Davenant’sTrincalo, whose difference from Shakespeare’s character warrants reten-tion of his new name.
For the reader’s convenience, productions are identified by name ofadapter/actor-manager/director; for example, ‘Tree’s Prospero’ means theactor in Tree’s production, rather than Tree himself. In some cases (forexample, ‘Kean’s Prospero’), the part was in fact played by the actor-manager in his own production. The actors of parts not discussed in theIntroduction are identified, where possible and pertinent, when the Com-mentary first introduces characters in a particular production. In addition,Appendix lists the principal players of productions that feature promi-nently in the Commentary; in alphabetical order of the person responsiblefor the production, it allows cross-referencing with the chronological listof productions, which gives fuller production data.
All information about a production, including quotations, is drawn fromits promptbook and/or printed text, unless otherwise noted; full details ofsources are given in the bibliography. However, because productions evolveand make various changes to the text, stage-business, actors, etc., it should
xii
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be remembered that no promptbook is definitive; indeed, there are some-times several versions of a promptbook, reflecting different stages of thesame production. Furthermore, the accuracy of promptbooks depends onthe thoroughness of their annotators: a feature common to several pro-ductions may not have been recorded in each case. Evidence from apromptbook may therefore make a production seem different from otherswhen this is not the case.
Where promptboks have been consulted, all cuts are noted. Half-linecuts are annotated as ‘a’ or ‘b’ when the two halves of the line are sharedby different speakers or are clearly distinguished by punctuation; the occa-sional division of a line into three separate speeches or phrases is annotatedas ‘a’, ‘b’ and ‘c’. When division of a line is unclear, the words cut arequoted.
Standard promptbook abbreviations are used and quoted throughout thecommentary: e.g., DR or DSR (downstage right); LC (left centre); UL orUSL (upstage left); LUE (left upper entrance/exit); RE (first rightentrance/exit); FOH (front of house); FO (facing out); OP (oppositeprompt); PS (prompt side). Notations about R and L are always from theon-stage, rather than the audience, perspective. Other abbreviations aregiven in the list that follows.
Insignificant alterations of the text, such as expansion or use of con-tractions, changes from singular to plural, and slight differences in word-order, have not been recorded. For reasons of space, quotations do not useellipsis dots to indicate omission of the beginning or the end of a sentence.Citation of reviews is complete in the Commentary (i.e., author, newspa-per, and date); incomplete citation indicates an inadequately identifiedarchival cutting (usually from the Theatre Museum for London andregional productions and from the Shakespeare Centre Library for Strat-ford and RSC productions). In the Commentary, books and articles arecited only by author and short title; full details may be found in the Bibliography.
Editor’s note xiii
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ABBREVIATIONS(Place of publication indicated by context in Commentary)
Ad AdvertiserANZTR Australia & New Zealand Theatre RecordAP Associated PressAPJ Aberdeen Press & JournalAR Adelaide ReviewAth AthenaeumAus AustralianBED Birmingham Evening DispatchBEM Birmingham Evening MailBEN Bolton Evening NewsBEP Bristol Evening PostBG Birmingham GazetteBgEN Birmingham Evening NewsBM Birmingham MailBP Birmingham PostBSM Birmingham Sunday MercuryBul BulletinBWDP Bristol Western Daily PressBWP Birmingham Weekly PostC CarlinoCD Editor’s notes taken during performanceCET Coventry Evening TelegraphCG Covent GardenCiL City LimitsCL Country LifeCM Casting MagazineCP City Pages (?)CPi Circulating PinesCS Carlino SpettacoliCSM Christian Science MonitorCT Canberra TimesD Dispatch (St Paul, Minnesota)DE Daily ExpressDET Derby Evening Telegraph
xiv
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DG Daily GraphicDH Dudley HeraldDL Drury Lane (or down left, depending on context)DM Daily MailDMSR Des Moines Sunday RegisterDN Daily NewsDS Daily SketchDT Daily TelegraphDW Daily WorkerEJ Evesham JournalEN Evening NewsES Evening StandardFR Financial ReviewFT Financial TimesG GuardianGC Gloucester CitizenGH Glasgow HeraldHC Hartford CourantHHE Hampstead & Highgate ExpressHR Hollywood ReporteriG Il GiornoiGe Il GiornaleILN Illustrated London NewsiM Il ManifestoInd IndependentIndS Independent on SundayISDN Illustrated Sporting and Dramatic NewsITN Italian Tribune NewsJC Jewish ChronicleL ListenerLAT Los Angeles TimesLC Leamington ChronicleLDP Liverpool Daily PostLFMT Little Falls Minnesota Tran (?)LP Liverpool PostLS London StarLSC [Royal] Leamington Spa CourierLTR London Theatre RecordMA Morning AdvertiserMD Minnesota DailyMelR Melbourne Report
List of abbreviations xv
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MG Manchester GuardianMGa Montreal GazetteMLD Montréal Le DevoirMMA Minneapolis Metro AreaMP Morning PostMR Minneapolis Register (?)MS Morning StarMSN Minneapolis Skyway NewsMST Minneapolis Star TribuneMSun Mail on SundayMT Minneapolis TribuneNBB New Brighton BulletinNC News ChronicleNCS New Cambridge ShakespeareNEC Newcastle-upon-Tyne Evening ChronicleNEP Nottingham Evening PostNG Nottingham GuardianNS New StatesmanNSL Newark Star-LedgerNTA New Theatre AustraliaNw NewsweekNYLJ New York Law JournalNYN New York NewsdayNYO New York ObserverNYP New York PostNYT New York TimesNYVV New York Village VoiceO ObserverOM Oxford MailOT Oxford TimesOTN Our Theatre in the Nineties (G. B. Shaw)OurT Our TownP Punchpb(s) promptbook(s)PP Plays and PlayersPS Paese SeraPWI Plymouth Western IndependentR RinascitaRPB Rochester Post-BulletinRS La Repubblica SpettacoliRSC Royal Shakespeare Company
xvi List of abbreviations
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RST Royal Shakespeare Theatre, StratfordSA Sunday AgeSCG Somerset County GazetteSCL Shakespeare Centre Library, StratfordSco ScotsmanSCSN Sherburne County Star-Newssd(s) stage direction(s)SDR San Diego ReaderSE Sunday ExpressSH Stratford HeraldSk SketchSLP South London PressSMH Sydney Morning HeraldSMT Shakespeare Memorial Theatre, StratfordSN Soho NewsSp SpectatorSPD St Paul DispatchSPPP St Paul Pioneer PressSS Shakespeare SurveySt StageST Sunday TimesSTel Sunday TelegraphSTT Stage & Television TodaySunH Sun HeraldSundH Sunday HeraldSWCN Solihull & Warwick County NewsT The TimesTab TabletTat TatlerTCC Twin Cities CourierTCR Twin Cities ReaderTES Times Education SupplementTGM Toronto Globe & MailTJ Theatrical JournalTLS Times Literary SupplementTM Theatre Museum, LondonTN Theatre NewsletterTO Time OutTR Theatre RecordTr TribuneTru Truth
List of abbreviations xvii
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TW TheaterWeekuc unidentified clippingV VarietyWA Warwick & Warwickshire Advertiser/Warwick AdvertiserWES Wolverhampton Express & StarWGH Wantage & Grove HeraldWI Western IndependentWO What’s OnWSG West Sussex GazetteWSJ Wall Street JournalYP Yorkshire Post? Editor’s conjecture or unknown information
xviii List of abbreviations
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LIST OF PRODUCTIONS
This list gives basic information about all productions discussed or men-tioned in the Introduction and Commentary; asterisks mark those for whichcuts have been noted. Venues are in London unless otherwise noted; abbre-viations and locations necessary for identification of a theatre are given parenthetically. Design refers to scenery/set and costume unless otherwisenoted: (s) scenery/set and (c) costume. In order to indicate whether pro-ductions played Shakespeare’s text or an adaptation of it, the following designations are used: (a) adapter; (a-m) actor-manager; (m) manager; (d)director. Although adapters have consciously altered Shakespeare’s text, itshould be remembered that each production is to some extent itself anadaptation: actor-managers and directors cut, re-arrange, and interpret theplay so that it reflects their own vision of what it means. Consequently,some of the productions of Shakespeare’s text noted below include majoromissions and interpolations of other material; see the Commentary forfurther details.
xix
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xx
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xxi
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ert
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ins
(d)
Old
Vic
Hub
ert
Hin
eSu
lliva
n, A
rne
Fe
brua
ry
(Tom
Hes
lew
ood
c?)
Bea
tric
e W
ilson
,L
ena
Ash
wel
l Pla
yers
Cen
tury
, and
tou
ring
Kat
e C
oate
s, J
ohns
on,
N
ovem
ber
Len
a A
shw
ell?
(d)
Hum
frey
, Ban
iste
r, et
al.
xxii
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Hen
ry B
aynt
on (
d)Sa
voy
C. a
nd W
. May
,
Janu
ary
W. C
lark
son
(c)
*Will
iam
Bri
dges
-St
ratf
ord-
upon
-Avo
nSM
T, S
trat
ford
Bri
dges
-Ada
ms
Ju
ly
;
Ada
ms
(d)
Fest
ival
Com
pany
revi
ved
Ju
ly
And
rew
Lei
gh (
d)O
ld V
icJo
hn G
arsi
de
Nov
embe
r
Har
cour
t W
illia
ms
(d)
Old
Vic
Ow
en P
. Sm
ithC
oate
s, e
t al
.
Oct
ober
;re
vive
d
Apr
il
Rob
ert
Atk
ins
(d)
Ope
n A
irPa
ul S
helv
ing
(c)
Purc
ell,
Sulli
van,
Se
ptem
ber
; (R
egen
t’s P
ark)
Arn
eal
so
,
,
,
,
,
,
Tyr
one
Gut
hrie
(d)
Sadl
er’s
Wel
ls/O
ld V
icJo
hn A
rmst
rong
Her
bert
Men
ges,
Ja
nuar
y
/
Den
nis
Aru
ndel
l
Janu
ary
*Will
iam
Bri
dges
-St
ratf
ord-
upon
-Avo
nSM
T, S
trat
ford
Nor
man
Wilk
inso
n,A
ntho
ny B
erna
rd
Apr
il
;
Ada
ms
(d)
Fest
ival
Com
pany
Aub
rey
Ham
mon
d,re
vive
d
(s
eeB
ridg
es-A
dam
s (s
);be
low
)R
ex W
hist
ler
(c)
Bus
kins
Wor
cest
er C
olle
ge,
Sum
mer
Oxf
ord
*Ran
dle
Ayr
ton
(d)
Stra
tfor
d-up
on-A
von
SMT
, Str
atfo
rdW
ilkin
son,
Ber
nard
A
pril
(rev
ival
of
Bri
dges
-Fe
stiv
al C
ompa
nyH
amm
ond,
Ada
ms’
s
B
ridg
es-A
dam
s (s
);pr
oduc
tion)
Whi
stle
r (c
)
Ben
Ide
n Pa
yne
(d)
Stra
tfor
d-up
on-A
von
SMT
, Str
atfo
rdJ.
Gow
er P
arks
Ber
nard
M
ay
Fest
ival
Com
pany
xxiii
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Cambridge University Press0521783755 - The TempestEdited by Christine DymkowskiFrontmatterMore information
Ada
pter
/C
ompa
nyV
enue
Des
ign
Mus
icD
ate
offir
stac
tor-
man
ager
/pe
rfor
man
cedi
rect
or
Geo
rge
Dev
ine
and
Old
Vic
Oliv
er M
esse
lJ.
S. B
ach,
W. A
. Moz
art
M
ay
Mar
ius
Gor
ing
(d)
*Ben
Ide
n Pa
yne
(d)
Stra
tfor
d-up
on-A
von
SMT
, Str
atfo
rdJ.
Gow
er P
arks
(c)
;B
erna
rd
Apr
il
;
Fest
ival
Com
pany
Pegg
y N
eale
(s)
revi
ved
A
pril
Mar
gare
t W
ebst
er (
d)C
olon
ial,
Bos
ton;
Alv
in,
try-
out?
;
Janu
ary
New
Yor
k
*Eri
c C
rozi
er (
d)St
ratf
ord-
upon
-Avo
nSM
T, S
trat
ford
Paul
She
lvin
gL
enno
x B
erke
ley
A
pril
Fest
ival
Com
pany
*Nor
man
Wri
ght
(d)
Shak
espe
are
SMT
, Str
atfo
rdSh
elvi
ngB
erke
ley
M
ay
Mem
oria
l The
atre
Com
pany
Nev
ill C
oghi
ll (d
)O
xfor
d U
nive
rsity
Wor
cest
er C
olle
ge,
Mic
hael
Bla
ck (
s)?
June
Dra
mat
ic S
ocie
tyO
xfor
d(O
UD
S)
*Mic
hael
Ben
thal
l (d)
Shak
espe
are
Mem
oria
lSM
T, S
trat
ford
Lou
don
Sain
thill
John
Woo
ldri
dge
Ju
ne
;
rev
ived
The
atre
Com
pany
M
arch
Juliu
s G
elln
er (
d)B
erna
rd M
iles
Mer
mai
d (S
t. Jo
hn’s
Mic
hael
Str
inge
r (s
);E
lizab
etha
n
Sept
embe
r
Woo
d)C
. Wal
ter
Hod
ges
(c)
Rob
ert
Hel
pman
n (d
)O
ld V
icL
eslie
Hur
ryM
alco
lm A
rnol
d
Apr
il
xxiv
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Dav
id W
illia
mO
pen
Air
(R
egen
t’sM
alco
lm P
ride
(c)
Ju
ne
Park
)
Dav
id S
case
(d)
Lib
rary
, Man
ches
ter
Scas
e
Nov
embe
r
*Pet
er B
rook
(d)
Shak
espe
are
Mem
oria
lSM
T, S
trat
ford
;Pe
ter
Bro
okPe
ter
Bro
ok, e
t al
.
Aug
ust
;T
heat
re C
ompa
nyD
rury
Lan
etr
ansf
erre
d
Dec
embe
r
Dou
glas
Sea
le (
d)O
ld V
icF
inla
y Ja
mes
Purc
ell,
Loc
ke
June
(Dry
den/
Dav
enan
tte
xt)
John
Hal
e (d
)T
heat
re R
oyal
, Bri
stol
Jane
Gra
ham
Mic
hael
Mel
linge
r, et
al.
Se
ptem
ber
Oliv
er N
evill
e (d
)O
ld V
icL
eslie
Hur
ryM
icha
el T
ippe
tt
May
Ger
ald
Fre
edm
an (
d)N
ew Y
ork
Shak
espe
are
Del
acor
te (
Cen
tral
Fest
ival
Park
), N
Y
*Clif
ford
Will
iam
sR
SCR
ST, S
trat
ford
Abd
’ Elk
ader
Far
rah
Ray
mon
d L
eppa
rd
Apr
il
with
Pet
er B
rook
(d)
Car
ey H
arri
son
(d)
Cam
brid
ge U
nive
rsity
Lau
rist
on H
all,
Car
ey H
arri
son
and
Dav
id L
ord
Aug
ust
The
atre
Com
pany
Edi
nbur
ghR
od L
ack
(s);
Judi
th F
ulm
an (
c)
Will
ard
Stok
er (
d)N
orth
ampt
on R
eper
tory
Osb
orne
Rob
inso
n
May
The
atre
, Nor
tham
pton
Mic
hael
Hea
ley
(d)
Mea
dow
Pla
yers
Oxf
ord
Play
hous
e,Yo
land
a So
nnab
end
(s)
Mic
hael
Dre
ss
Apr
il
;
Oxf
ord
revi
ved
M
arch
xxv
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Cambridge University Press0521783755 - The TempestEdited by Christine DymkowskiFrontmatterMore information
Ada
pter
/C
ompa
nyV
enue
Des
ign
Mus
icD
ate
offir
stac
tor-
man
ager
/pe
rfor
man
cedi
rect
or
Pete
r B
rook
(d)
Pete
r B
rook
and
R
ound
Hou
sen/
an/
aJu
ly
(wor
k-in
-pro
gres
s)Je
an-L
ouis
Bar
raul
t
Dav
id J
ones
(d)
Chi
ches
ter
Fest
ival
Ral
ph K
olta
iM
arko
Pau
los
Ju
ly
The
atre
, Chi
ches
ter
Mic
hael
Elli
ott
(d)
The
atre
Com
pany
Uni
vers
ity T
heat
re,
Ric
hard
Neg
riG
eorg
e H
all
Se
ptem
ber
Man
ches
ter
Jona
than
Mill
er (
d)M
erm
aid
(Pud
dle
John
Col
lins
(s);
Car
l Dav
is
June
Doc
k)R
osem
ary
Ver
coe
(c)
Phili
p M
inor
(d)
Min
neso
ta T
heat
reG
uthr
ie, M
inne
apol
isJo
hn J
ense
nJo
hn G
essn
er
June
Com
pany
Nag
el J
acks
on (
d)W
ashi
ngto
nSy
lvan
, Was
hing
ton
John
Pet
er H
alfo
rd (
c);
Sum
mer
Shak
espe
are
Sum
mer
D.C
.R
ober
t T
roll
(s)
Fest
ival
*Joh
n B
arto
n (d
)R
SCR
ST, S
trat
ford
Chr
isto
pher
Mor
ley,
cast
and
Ben
O
ctob
er
with
Ann
Cur
tisK
ings
ley
Stua
rt B
urge
(d)
Not
tingh
amR
obin
Arc
her
John
Lea
ch
Febr
uary
Play
hous
e,N
ottin
gham
Ric
hard
Dig
by D
ayN
ew S
hake
spea
reO
pen
Air
(R
egen
t’sK
it Su
rrey
(s)
;M
icha
el S
adle
r
May
Com
pany
Park
)H
ugh
Dur
rant
(c)
xxvi
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Cambridge University Press0521783755 - The TempestEdited by Christine DymkowskiFrontmatterMore information
*Pet
er H
all (
d)N
atio
nal T
heat
reO
ld V
icJo
hn B
ury
Gry
phon
M
arch
*Kei
th H
ack
(d)
RSC
The
Oth
er P
lace
,D
ebbi
e Sh
arpe
Step
hen
Oliv
er
Oct
ober
Stra
tfor
d
John
Har
riso
n (d
)L
eeds
Pla
yhou
se,
Kitt
y B
urro
ws
(c);
Paul
Tod
d
Oct
ober
;L
eeds
; Wyn
dham
’sSe
an C
avan
agh
(s)
tran
sfer
red
Fe
brua
ry
Gio
rgio
Str
ehle
r (d
)Pi
ccol
o T
eatr
o di
Tea
tro
Lir
ico,
Luc
iano
Dam
iani
Fio
renz
o C
arpi
(tra
nsla
tor:
Ago
stin
oM
ilano
Mila
n, &
tou
ring
Lom
bard
o)
*Clif
ford
Will
iam
s (d
)R
SCR
ST, S
trat
ford
Ral
ph K
olta
iG
uy W
oolfe
nden
A
pril
Pip
Sim
mon
s (d
and
a)
Pip
Sim
mon
s G
roup
Riv
ersi
de S
tudi
osM
aggi
e Jo
nes
(mas
ks)
Chr
is J
orda
n
May
Dav
id G
iles
(d)
Edi
nbur
gh F
estiv
alB
irm
ingh
am R
eper
tory
Ken
neth
Mel
lor
(s);
A
ugus
t
Prod
uctio
ns
The
atre
, Bir
min
gham
Paul
ine
Whi
teho
use
(c)
Mic
hael
Bog
dano
v (d
)Yo
ung
Vic
The
atre
Youn
g V
icPa
ul B
anni
ster
Step
hen
Box
er
Nov
embe
r
Com
pany
Ger
ald
Fre
edm
an (
d)A
mer
ican
Sha
kesp
eare
Sum
mer
The
atre
, Str
atfo
rd(C
onne
ctic
ut)
Tin
a Pa
cker
(d)
Shak
espe
are
&T
he M
ount
, Len
oxB
ill B
allo
u (s
);R
oger
Rey
nold
s
July
Com
pany
(Mas
sach
uset
ts)
Kik
i Sm
ith (
c)
Liv
iu C
iule
i (d)
Gut
hrie
, Min
neap
olis
Liv
iu C
iule
i (s)
;T
heod
or G
rigo
riu
Ju
ne
Jack
Edw
ards
(c)
John
Ret
alla
ck (
d)A
ctor
s T
ouri
ngT
reas
urer
’s H
ouse
,Jo
hn N
evill
e (s
);Pa
ul S
and
and
Chr
is
July
;C
ompa
nyYo
rk, a
nd t
ouri
ng;
Jean
Tur
nbul
l (c)
Bar
nes
revi
ved
Fe
brua
ryW
areh
ouse
xxvii
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Ada
pter
/C
ompa
nyV
enue
Des
ign
Mus
icD
ate
offir
stac
tor-
man
ager
/pe
rfor
man
cedi
rect
or
Lee
Bre
uer,
with
New
Yor
k Sh
akes
pear
eD
elac
orte
(C
entr
alD
avid
Mitc
hell
(s);
Bar
bara
Ben
ary
Ju
ly
Rut
h M
alec
zech
(d)
Fest
ival
Park
), N
YC
arol
Odi
tz (
c)(g
amel
an);
Nan
aV
asco
ncel
es (
sam
ba);
Dis
ney
them
e so
ngs
John
Hir
sch
Stra
tfor
d Fe
stiv
al,
Des
mon
d H
eele
ySt
anle
y Si
lver
man
June
Ont
ario
*Ron
Dan
iels
(d)
RSC
RST
, Str
atfo
rd, a
ndM
aria
Bjo
rnso
nSt
ephe
n O
liver
A
ugus
t
;
tour
ing;
Bar
bica
ntr
ansf
erre
d
Sept
embe
r
Phili
p G
rout
(d)
St G
eorg
e’s
Lyn
Ave
ry (
c)Ia
n K
ella
m
Apr
il
Deb
orah
War
ner
(d)
Kic
k T
heat
reSt
Cut
hber
t’s H
alls
,Ja
cque
line
Gun
nSe
ptem
ber?
Com
pany
Edi
nbur
gh, a
nd t
ouri
ng
Gle
n W
alfo
rd (
d)E
very
man
, Liv
erpo
olSu
e M
ayes
Padd
y C
unne
en
Janu
ary
Les
ley
Arg
ent
(d)
Tro
uble
& S
trife
A.D
.C. T
heat
re,
Sam
anth
a H
odge
Fe
brua
ry
Cam
brid
ge
Nig
el J
amie
son
and
Com
pass
The
atre
Roy
al,
Mar
k N
egin
Ric
hard
Att
ree
O
ctob
er
Ant
hony
Qua
yle
(d)
Bri
ghto
n, a
nd t
ouri
ng
Leo
De
Ber
ardi
nis
(d)
Coo
pera
tiva
Nuo
vaT
eatr
o T
esto
ni/i
nter
Leo
De
Ber
ardi
nis
Ric
hard
Wag
ner,
Purc
ell,
A
pril
;(t
rans
lato
r: A
ngel
oSc
ena
Act
ion,
Bol
ogna
;A
nton
von
Web
ern,
re
vive
d Fe
brua
ryD
alla
giac
oma)
Thé
âtre
Gér
ard
John
Col
tran
e,
Phill
ippe
de
Sain
t-In
dian
gui
tar,
et a
l.D
enis
, Par
is
xxviii
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Alfr
edo
Ari
as (
d)C
entr
e D
ram
atiq
ue?,
Avi
gnon
July
(tra
nsla
tor:
Jea
n-d’
Aub
ervi
llier
s an
dL
ouis
Cur
tis)
Gro
upe
TSE
Fes
tival
d’A
vign
on
Mat
thew
Fra
ncis
(d)
Chi
ches
ter
Stud
ioT
he T
ent,
Chi
ches
ter;
How
ard
Bur
den
Mia
Sot
erio
u
Sept
embe
r
;
Com
pany
Chi
ches
ter
Fest
ival
tran
sfer
red
The
atre
Oct
ober
Ron
an P
atte
rson
(d)
Nor
thum
berl
and
Fra
nk T
hom
pson
Janu
ary
The
atre
Com
pany
Rob
ert
Fal
ls (
d)G
oodm
an, C
hica
go
Ale
c B
ell (
d)N
ew V
icto
ria,
Nor
thN
ovem
ber?
Staf
ford
shir
e
Mic
hael
God
dard
(d)
Salfo
rd P
layh
ouse
,Fe
brua
ry/M
arch
?Sa
lford
*Pet
er H
all (
d)N
atio
nal T
heat
reC
otte
sloe
, and
tou
ring
;A
lison
Chi
tty
Har
riso
n B
irtw
istle
M
ay
;
Oliv
ier
tran
sfer
red
Se
ptem
ber
*Nic
hola
s H
ytne
r (d
)R
SCR
ST, S
trat
ford
;D
avid
Fie
ldin
gJe
rem
y Sa
ms
Ju
ly
;
Bar
bica
ntr
ansf
erre
d
May
Yuki
o N
inag
awa
Nin
agaw
a T
heat
rePl
ayho
use,
Edi
nbur
gh,
Tos
hiak
i Suz
uki (
s);
Ryu
do U
zaki
A
ugus
t
;
(tra
nsla
tor:
Yus
hiC
ompa
nyan
d to
urin
g; B
arbi
can
Lily
Kom
ine
(c)
revi
ved
D
ecem
ber
Oda
shim
a)
xxix
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Ada
pter
/C
ompa
nyV
enue
Des
ign
Mus
icD
ate
offir
stac
tor-
man
ager
/pe
rfor
man
cedi
rect
or
*Jon
atha
n M
iller
(d)
Old
Vic
Ric
hard
Hud
son
Car
l Dav
is
Oct
ober
Dec
lan
Don
nella
n (d
)C
heek
by
Jow
lto
urin
g an
d D
onm
arN
ick
Orm
erod
Padd
y C
unne
enO
ctob
er?
;W
areh
ouse
N
ovem
ber
John
Gad
en (
d)St
ate
The
atre
Play
hous
e, A
dela
ide
Ken
Wilb
y
May
Com
pany
of
Sout
hern
Aus
tral
ia
Des
Jam
es (
d)R
iver
ina
Tru
ckin
gR
iver
ina
Play
hous
e,Ji
ll H
allid
ay
Aug
ust
Com
pany
Wag
ga W
agga
(Aus
tral
ia),
and
tour
ing
Patr
ick
Mitc
hell
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Cambridge University Press0521783755 - The TempestEdited by Christine DymkowskiFrontmatterMore information
Mar
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xxxi
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