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Costume, performance and power in 1953
Lisa Mullen

. Heather Wiebe has argued that the dewigging of the queen in the third act ‘unveiled an uglier reality behind the Coronation’s carefully produced fantasy of the Elizabethan era’: The opera’s peculiar darkness speaks to an ambivalence within the Coronation celebrations about the structures of British – or, to be more precise, English – identity. … It probed a problem at the heart of this construction of identity, faltering at the line between domestic and expansive versions of Englishness. 83

in Mid-century gothic
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The House by the Church yard
W. J. McCormack

Puddock’s preference is in fact for Rowe’s play of 1702, where the hero is presented as a calm philosopher-prince and presented also as modelled on William III! In Puddock and Dunoran, the Chattesworth ladies have chosen husbands who mediate between the undeniable violence of the Elizabethan era when Ireland was finally conquered and the uneasy, smoke-clouded politics of an

in Dissolute characters