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John Drakakis

. 85 Ibid. , p. 19. 86 Ibid. 87 Ibid. , p. 21. 88 Ibid. Ben Elton’s TV series Upstart Crow (BBC TV, 2018–19) offers a series of surprising comic insights into what in 1977 Jones regarded as a serious matter. Also, Jones’s account of Hamlet’s ‘tables’ here is a literary one that the example earlier seeks to revise. 89 The line reference is to Hamlet , ed. Ann Thompson and Neil

in Shakespeare’s resources
Robert Ormsby

1977). It was this remarkable performance that, four years after the RSC’s European tour, made Howard the obvious choice for the BBC television production (Fenwick 22). While the television programme was emotionally and visually toned down compared to the RSC production and lacked both the sustained flair that Hands created with lighting effects and some of Howard’s wilder vocal fluctuations, it was

in Coriolanus
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The minor films
Andrew James Hartley

made the shift into colour and had become a genuinely mass medium. In Britain, which would generate the single most important Shakespeare series, the stuffy news and light entertainment programming which the BBC had first offered was undergoing a shift, introducing postmodern comedy like Monty Python’s Flying Circus (1969–74). Homey crime shows like Dixon of Dock Green (1955–76) were gradually

in Julius Caesar
Kate McLuskie and Kate Rumbold

each of the plays were produced by different international companies at the London Globe theatre; the Royal Shakespeare Company (RSC) produced a special series of performances that included new international productions; the BBC launched a Shakespeare season that included new films of the second tetralogy of history plays and broadcast the new Royal Shakespeare Company production of Julius Caesar

in Cultural value in twenty-first-century England
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The Spanish Tragedy IV.iv in performance
Tony Howard

David MacDonald’s at Glasgow Citizens Theatre (1978); Michael Bogdanov’s for the National Theatre (Cottesloe 1982; Lyttelton transfer 1984); Alan Drury’s BBC Radio 3 version (1994); Michael Boyd’s at the RSC’s Swan Theatre (1997) – and touches on the play’s surprising reappearances since then, from an actual performance in a disused factory in London’s main Turkish district to a fictional

in Doing Kyd
Michael D. Friedman and Alan Dessen

predecessor, Lambermont and Mesguich modelled their productions on the stylised efforts of Peter Brook, while Maggio cautiously imitated the realistic presentation of Jane Howell’s BBC-TV version. Owing in part to their preoccupation with the potentially offensive nature of the play’s violence, neither Lambermont nor Maggio achieved much critical success in their efforts, but Mesguich attained a notable triumph in his native France with his surreal and inventive production. Stratford, Ontario Shakespeare Festival

in Titus Andronicus
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1994 and 1999
Michael D. Friedman and Alan Dessen

critique of violence as entertainment. As Taymor moved from stage to screen, she also modified many of the elements she borrowed from Howell’s realistic BBC-TV rendition. Although Pascale Aebischer reports that ‘Taymor, in a telephone interview, acknowledged seeing Howell’s video but denied being consciously influenced by it’ (‘Women’, 142n), Howell’s fingerprints were all over both of Taymor’s Titus productions, especially in their depictions of the killing of Chiron and Demetrius. In Howell’s version, the

in Titus Andronicus
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Robert Shaughnessy

According to Cedric Messina, the initiator of the BBC/Time-Life Television Shakespeare and producer of its first and second series, As You Like It has the distinction of being the play that served as inspiration for the entire enterprise. In 1975 Messina was location shooting at Glamis Castle for a Play of the Month production of James Barrie’s The Little Minister ; he decided that it was ‘the perfect

in As You Like It
A brief history of Scottish editions
Andrew Murphy

Dictionary. Cost the production on a run of 100,000, adhesive bound with laminated paper over 1750 micron boards. 42 If, in the 1970s, the Alexander text enjoyed a sales boost from the book club trade and from mass market sales, the edition was further revitalized at the end of this same decade when the BBC approached Collins to enquire about using

in Shakespeare and Scotland
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Michael D. Friedman and Alan Dessen

, three of which spring from twentieth-century productions described at length by Dessen: Peter Brook’s in 1955 at the RSC, Jane Howell’s in 1985 on BBC-TV, and Warner’s two years later. The fourth line of descent, which has proved quite fertile in the past twenty years, appears to originate in a rendition given relatively brief attention by Dessen, Douglas Seale’s 1967 production at the Center Stage in Baltimore, which ‘may have been the first to present a Fascist Titus ’ (see p. 38 ). Dessen reports

in Titus Andronicus