A Directory of Shakespeare in Performance 1970-1990: Canada and USA

2050 Pages·2010·272.398 MB·English

by  J. O'Connor, K. Goodland

A DIRECTORY OF
SHAKESPEARE
IN PERFORMANCE
1
1970-1990
VOLUME 2:
CANADA ANO USA
Directory of Shakespeare in Performance Series
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A Directory of
Shakespeare
in Performance,
1970-1990
VOLUME 2!
CANADA AND USA
Katharine Goodland and
]ohn O'Connor
For The Players
palgrave
macmillan
* © Katharine Goodland and john O'Connor 2010
Softcover reprint of the hardcover 1 st edition 201 O 978-0-230-54677-6
All rights reserved. No reproduction, copy or transmission of this
publication may be made without written permission.
No portion of this publication may be reproduced, copied or transmitted
save with written permission or in accordance with the provisions of the
Copyright, Designs and Patents Act 1988, or under the terms of any licence
permitting limited copying issued by the Copyright licensing Agency,
Saffron House, 6-10 Kirby Street, London EC1 N 8TS.
Any person who does any unauthorized act in relation to this publication
may be liable to criminal prosecution and civil claims for damages.
The authors have asserted their rights to be identified as the authors of this
work in accordance with the Copyright, Designs and Patents Act 1988.
First published 2010 by
PALGRAVE MACMILLAN
Palgrave Macmillan in the UK is an imprint of Macmillan Publishers Limited,
registered in England, company number 785998, of Houndmills, Basingstoke,
Hampshire RG21 6XS.
Palgrave Macmillan in the US is a division of St Martin's Press LLC,
175 Fifth Avenue, New York, NY 10010.
Palgrave Macmillan is the global academic imprint of the above companies
and has companies and representatives throughout the world.
Palgrave® and Macmillan® are registered trademarks in the United States,
the United Kingdom, Europe and other countries.
ISBN 978-1-349-60043-4 ISBN 978-1-349-60041-0 (eBook)
DOI 10.1007/978-1-349-60041-0
This book is printed on paper suitable for recycling and made from fully
managed and sustained forest sources. Logging, pulping and manufacturing
processes are expected to conform to the environmental regulations of the
country of origin.
A catalogue record for this book is available from the British Library.
A catalog record for this book is available from the Library of Congress.
10 9 8 7 6 5 4 3 2 1
19 18 17 16 15 14 13 12 11 10
CONTENTS
ACKNOWLEDGMENTS Vlll
INTRODUCTION Xl
THE DIRECTORY
CANADA
ALLS WELL THAT ENOS WELL 3
ANTONY ANO CLEOPATRA 9
AS YOU LIKE IT 12
THE COMEDY OF ERRORS 22
CORIOLANUS 31
CYMBELINE 33
HAMLET 37
HENRY IV PART ONE 59
HENRY IV PART TWO 64
HENRYV 66
HENRY VI 73
HENRY VIII 75
JULIUS CAESAR 78
KINGJOHN 89
KING LEAR 91
LOVE' S LABOUR' S LOST 108
MACBETH Il7
MEASURE FOR MEASURE 143
THE MERCHANT OF VENICE 152
THE MERRY WIVES OF WINDSOR 165
A MIDSUMMER NIGHT's DREAM 171
MUCH ADO ABOUT NOTHING 198
OTHELLO 210
PERICLES 223
RICHARD II 229
RICHARD III 233
V
vi CONTENTS
ROMEO AND JULIET 247
THE TAMING OF THE SHREW 270
THE TEMPEST 289
TIMON OF ATHENS 307
TITUS ANDRONICUS 3II
TROILUS AND CRESSIDA 318
TWELFTH NIGHT 323
THE TWO GENTLEMEN OF VERONA 346
,
THE WINTER S TALE 352
USA
,
ALLS WELL THAT ENDS WELL 361
ANTONY AND CLEOPATRA 389
AS YOU LIKE IT 411
THECOMEDYOFERRORS 489
CORIOLANUS 540
CYMBELINE 559
EDWARD III 582
HAMLET 583
HENRY IV PART ONE 662
HENRY IV PART TWO 691
HENRY IV 701
HENRYV 705
HENRY VI PART ONE 732
HENRY VI PART TWO 735
HENRY VI PART THREE 738
HENRY VI 740
HENRY VIII 742
JULIUS CAESAR 746
KINGJOHN 793
KING LEAR 804
, ,
LOVE S LA BOUR S LOST 843
MACBETH 884
MEASURE FOR MEASURE 979
THE MERCHANT OF VENICE 1033
THE MERRY WIVES OF WINDSOR 1071
,
A MIDSUMMER NIGHT S DREAM II21
MUCH ADO ABOUT NOTHING 1231
OTHELLO 1309
CONTENTS vii
PERICLES 1367
RICHARD Il 1388
RICHARD III 1430
ROMEO AND JULIET 1479
THE TAMING OF THE SHREW 1555
SIR THOMAS MORE 1628
THE TEMPEST 1629
TIMON OF ATHENS 1705
TITUS ANDRONICUS 1719
TROILUS AND CRESSIDA 1737
TWELFTH NIGHT 1758
THE TWO GENTLEMEN OF VERONA 1851
THE TWO NOBLE KINSMEN 1893
THE WINTER1S TALE 1897
INDEXES
CASTS 1947
CREATIVE ROLES 2007
REVIEWS 2027
VENUES AND COMPANIES 2035
ACKNOWLEDGMENTS
1 am indebted to many people who were generous with their time, talent, intellect,
and resources. Above ali, 1 wish to thank my co-editor, John O'Connor, to whom
these volumes owe their existence, as this project was his brainchild. Along the
way, he and Kelly Newman O'Connor generously assisted with the editing of sev
era! plays for Volume 3. 1 could not have wished for more insightful, understanding,
and effective editors than Hazel Woodbridge and Sue Povey at Palgrave Macmillan
and Vidhya Jayaprakash the copy editor at Newgen lmaging; Adam Day bravely and
experdy took on the daunting task of indexing. June Schlueter was generous with
her advice and resources. Wilma Jones and Dorothy Walsh at the CSI Library were
generous and efficient in assisting me with resources. My wonderful, understanding
friends and colleagues in the English Department at CSI offered invaluable support
and advice, especially Alyson Bardsley, Janet Dudley, Dalia Kandiyoti, Fred Kaufman,
Steve Monte, Blanford Parker, Jamie Riddle, and Christina Tortora. My colleagues
in the wider community of Shakespeare were equally generous with their time and
insights: Jeremy Lopez, Helen Ostovich, Irene Makaryk, Peter Holland, Alexander
Leggatt, Charles Ross, Keith Digby, Kevin Kramer, and Gordon McCall (w ho per
sonally delivered to me reviews and playbills and regaled me with stories of Canadian
theatre on a cold, January day in New York). My dear friends Lisa Carp and Peter
Schmidt provided much needed emotional support.
For their research assistance 1 would like to thankJennifer Durando,Joel Fonstad,
Rebecca Hennessy, Michelle Philippin, Mellissa Seecharan, Lillian Werner, and espe
cially the heroic and tireless assistance of Adam Day, Michael Caldwell, and Christine
Sloan in the final week leading up to the deadline.
I am grateful to numerous theatre professionals, fellow college professors, review
ers, university archivists, and public library archivists who took time out of their bec
tic schedules to answer my inquiries and hunt down information not only in orderly
files, but also on microfilm, in hot trailers, and damp basements. Canadians have a
reputation for being friendly and my experience certainly confirmed this. The Library
and Archives Canada is an incredible resource, and its staff was swift and responsive
to my requests for microfilm reels and review scans. My requests for assistance were
warmly and generously answered by numerous individuals across Canada: Dr. Peter
Ayers, Memorial University Newfoundland, who took the time to send immensely
helpful advice in a long, empathetic email; Keith Garebian, who generously agreed to
a one-hour telephone interview; Gerry Grace, Archivist, the National Arts Centre,
who provided numerous reviews and cast lists and patiently explained how to access
viii
ACKNOWLEDGMENTS IX
information on the theatre's amazing website; Scott Hobbs, Publicity & Marketing
Manager, Magnus Theatre; Dr. Gordon Jones, Memorial University Newfoundland,
who generously sent me copies of his newspaper reviews and CBC transcripts; Laurie
Lam, Producer, Manitoba Theatre Centre, who cheerfully provided several reviews;
Jason Magee, Publicity & Promotions, The CitadelTheatre, who scanned numerous
newspaper reviews and emailed them to me; Chelsea Manders, Artistic Coordinator,
The Canadian Stage Company;John McHenry, Vancouver Playhouse; Corey Redekop,
Reference Department, Fredericton Public Library, NB, who, graciously agreed to my
impertinent request that he search for reviews on microfilm, scanned, and emailed
them to me without complaint; Sara Reeves, Publicist, TheatreOne, Nanaimo, BC;
Dr. Joanne Rochester, University of Saskatchewan, who graciously agreed to assist
with research; Elaine Simpson, Shakespeare on the Saskatchewan, who faxed me
numerous cast and crew lists; Karen Smith, Special Collections Librarian/ Acting
University Archivist, Dalhousie University, who sent me beautifully organized cop
ies of playbills and reviews from the archive collection; Janice Sutherland Marketing
Director/ Assistant General Manager, Persephone Theatre; Heather Vaniderstine,
Administrative Assistant, Theatre New Brunswick, who mailed me copies of reviews
and playbills; Catherine Vokey, Centaur Theatre Company, who scanned and emailed
reviews and playbills; and Shari Watding, Literary Manager, Theatre Calgary.
In the United States people were equally generous, cheerful, and warm, espe
cially in response to my queries: Arin Arbus, Associate Artistic Director, Theater
for a New Audience; Elizabeth Aspenlieder, Public Relations Director/ Actor,
Shakespeare & Company; Melodie Bahan, Director of Communications, Guthrie
Theater; Leticia Rhi Buckley, Director, Marketing and Communications, Music
Center-Performing Arts Center of Los Angeles County; Doug Copsey, Artistic
Director, Idaho Shakespeare Festival; Lesley Currier, Managing Director, Marin
Shakespeare Company sent me an enormous box of local reviews; Candi Adams,
Director of Communications, The Public Theater and Julie Danni, Press Intern, The
Public Theater; Drew Dir, Resident Dramaturg, The Court Theatre; Julia Rodriguez
Elliott, Artistic Director, A Noise Within; Jeff Fickes, Communications Director,
Seattle Shakespeare Company; Les Golden, Ph.D., Oak Park Theatre Festival; Pete
Guither, Assistant to the Dean,College of Fine Arts, Illinois State University and Jo
A. Rayfield, Illinois Shakespeare Festival; Kelly Hernandez and Mell McDonnell,
Colorado Shakespeare Festival; Heather C. Jackson, Public Relations Manager,
Centerstage Baltimore; Natalie Jankowski, Externa! Relations Intern, Trinity
Repertory Company; Todd Krispinsky, Marketing and Public Relations Director,
Great Lakes Theater Festival, sent me a helpful excel spreadsheet of productions
and opening dates; Kathleen F. (Kit) Leary, Archivist, Oregon Shakespeare Festival;
Bruce C. Lee, Communications Director, Utah Shakespearean Festival; Jeanette
Meierhofer, Marketing Manager, Adanta Shakespeare Company; Donna Northcott,
Artistic Director and Founder, St. Louis Shakespeare Company; Madeleine Oldham,
Dramaturg and Literary manager, Berkeley Repertory Theatre; Christopher Owens,