Antipodal Shakespeare: Remembering and Forgetting in Britain, Australia and New Zealand, 1916 - 2016

241 Pages·2018·1.593 MB·English

by  Gordon McMullan, Philip Mead, Ailsa Grant Ferguson, Mark Houlahan, Kate Flaherty

Antipodal
Shakespeare
i
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ii
Antipodal
Shakespeare
Remembering and Forgetting in
Britain, Australia and
New Zealand, 1916–2016
Gordon McMullan and P hilip Mead
with
Ailsa Grant Ferguson, Kate Flaherty
and Mark Houlahan
Afterword by Catherine Moriarty
Bloomsbury Arden Shakespeare
An imprint of Bloomsbury Publishing Plc
LONDON • OXFORD • NEW YORK • NEW DELHI • SYDNEY
iii
Bloomsbury Arden Shakespeare
An imprint of Bloomsbury Publishing Plc
Imprint previously known as Arden Shakespeare
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BLOOMSBURY, THE ARDEN SHAKESPEARE and the Diana logo are trademarks
of Bloomsbury Publishing Plc
First published 2018
© Gordon McMullan, Philip Mead, Ailsa Grant Ferguson, Kate Flaherty and
Mark Houlahan, 2018
Gordon McMullan, Philip Mead, Ailsa Grant Ferguson, Kate Flaherty and
Mark Houlahan have asserted their right under the Copyright, Designs and
Patents Act, 1988, to be identifi ed as authors of this work.
All rights reserved. No part of this publication may be reproduced or transmitted in
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Bloomsbury or the authors.
British Library Cataloguing-i n-Publication Data
A catalogue record for this book is available from the British Library.
I SBN : HB : 978-1-474-27143-1
e P DF : 978-1-474-27145-5
e Book: 978-1-474-27144-8
Library of Congress Cataloging-i n-Publication Data
A catalogue record for this book is available from the Library of Congress.
Cover design: Dani Leigh
Cover image: New Zealand soldiers, sightseeing trip from the Shakespeare Hut.
© Auckland War Memorial Museum
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iv
CONTENTS
List of fi gures vii
List of contributors viii
Acknowledgements xi
Introduction: ANZAC and the Tercentenary in
London, April 1916 1
Gordon McMullan and Philip Mead
1 Forgetting Israel Gollancz: The Shakespeare
Tercentenary, the National Theatre and the
effects of commemoration 29
Gordon McMullan
2 Shakespeare, memory and the city: The
Tercentenary in Sydney and its afterlife 63
Philip Mead
3 The Shakespeare Hut for Anzacs: Building
commemoration, performing memory,
1916–19 89
Ailsa Grant Ferguson
4 From the Shakespeare Hut to the Pop-u p
Globe: Shakespeare, memory and New
Zealand, 1916–2016 117
Mark Houlahan
v
vi CONTENTS
5 Lest we remember: H enry V and the play of
commemorative rhetoric on the Australian
stage 145
Kate Flaherty
Afterword: The antipodal dynamics of
commemoration 173
Catherine Moriarty
Notes 189
References 207
Index 221
FIGURES
2.1 Sydney Shakespeare Monument (courtesy
Peter F. Williams, Monument Australia). 75
2.2 Max Dupain, Botanic Gardens, Macquarie Street
Entrance, c. early 1950s (courtesy Rex Dupain). 76
2.3 Jeffrey Smart, C ahill Expressway , 1962 (Estate
of Jeffrey Smart. National Gallery of Victoria). 82
3.1 The Shakespeare Hut, as seen from Gower
Street, c. 1917 (courtesy Y MCA Archive). 90
3.2 The Shakespeare Hut Lounge (courtesy
YMCA Archive). 103
4.1 Frontispiece, Sir Walter Raleigh, H istory of
the World (1614). 120
4.2 Flyer for the Shakespeare Hut (Waikato Museum
of Art and History 1993-11-163. Photo
Dan Morrow). 124
4.3 Pop- up Globe, Auckland, February 2016
(Photo Mark Houlahan). 143
4.4 Pop- up Globe deconstructing, May 2016
(Photo Mark Houlahan). 144
A.1 Fred Taylor, ‘I pray you let us satisfi e our
eyes . . .’, 1938 (Poster published by London
Transport. Width: 635mm, height: 1016mm.
London Transport Museum). 183
vii
CONTRIBUTORS
Gordon McMullan is Professor of English and Director of
the London Shakespeare Centre at King’s College London.
He created Shakespeare400, a London-f ocused consortium
of cultural organizations marking the Shakespeare Quater-
centenary in 2016. He is a general textual editor of the N orton
Shakespeare 3E (2015), a general editor of Arden Early Modern
Drama, author of S hakespeare and the Idea of Late Writing:
Authorship in the Proximity of Death (2007) and The Politics
of Unease in the Plays of John Fletcher (1994), and editor of
the Arden Shakespeare edition of H enry VIII (2000) and the
Norton Critical Editions of 1 Henry IV (2004) and Romeo and
Juliet (2016), as well as several collections of essays, including,
most recently, Late Style and Its Discontents: Essays in Art,
Literature and Music (2016, with Sam Smiles).
Philip Mead is inaugural Chair of Australian Literature
and Director of the Westerly Centre at the University of
Western Australia. Between 2010 and 2013 he was Principal
Investigator for the Australian Research Council-f unded project
‘Monumental Shakespeares: an investigation of transcultural
commemoration in twentieth-c entury Australia and England’
(with co-i nvestigator Gordon McMullan). His publications
include T eaching Australian Literature: From Classroom
Conversations to National Imaginings (2011, with Brenton
Doecke and Larissa McLean Davies), the prize-winning
Networked Language: Culture and History in Australian Poetry
(2008), and Shakespeare’s Books: Contemporary Cultural Politics
and the Persistence of Empire (with Marion Campbell, 1993).
Ailsa Grant Ferguson is a lecturer in English at the University of
Brighton. Between 2010 and 2013 she was a Postdoctoral
viii
CONTRIBUTORS ix
Research Associate at King’s College London for the
Australian Research Council-f unded project ‘Monumental
Shakespeares: an investigation of transcultural commemoration
in twentieth-c entury Australia and England’. Her publications
include S hakespeare, Cinema, Counterculture: Postmodern
Appropriations of Shakespeare (2015) and several essays on the
Tercentenary and the Shakespeare Hut.
Kate Flaherty is a lecturer in English and drama at the
Australian National University. Between 2008 and 2012 she
held a postdoctoral research fellowship at the University of
Sydney working on the Australian Research Council-f unded
project ‘Shakespeare Reloaded’: an investigation of uses of
Shakespeare within school and university English curricula
from the nineteenth century to the present. Her monograph
Ours As We Play It: Australia Plays Shakespeare (2011)
examined three plays in performance in contemporary
Australia. More recent work investigates Shakespeare on the
colonial stage and the public interplay of the dramas with
education, imperial politics and sectarian friction. Her work
has been published in S hakespeare Survey , Contemporary
Theatre Review and A ustralian Studies as well as in a range of
edited collections.
Mark Houlahan is a senior lecturer in the English programme
in the School of Arts at the University of Waikato and President
of ANZSA (the Australian and New Zealand Shakespeare
Association). He works on the place of Shakespeare in New
Zealand and the use of adaptations and appropriations in
Shakespeare performance. His publications include the
Broadview/Internet Shakespeare Editions T welfth Night (2014,
edited with David Carnegie) and S hakespeare and Emotions:
Inheritances, Enactments, Legacies (2015, co- edited with R. S.
White and Katrina O’Loughlin), as well as numerous essays on
Shakespeare in/and New Zealand.
Catherine Moriarty is Curatorial Director of the University of
Brighton Design Archives and Professor of Art and Design