26. John Peter, Sunday Times, 31 October 1999.
27. Michael Billington, Guardian, 30 October 1999.
28. Colin Chambers, Other Spaces: New Theatre and the RSC (1980), p. 71.
29. Nightingale, “Some Recent Productions,” p. 232.
30. Irving Wardle, Independent, 15 July 1990.
31. David Fielding, designer of the 1990 production, in interview with Lynne Truss, Independent, 8 July 1990.
32. John Gross, Sunday Telegraph, 15 July 1990.
33. Michael Billington, Guardian, 13 July 1990.
34. Note in King Lear, RSC program, 1993.
35. Irving, Independent, 15 July 1990.
36. Chambers, Other Spaces, p. 69.
37. Michael Billington, Guardian, 30 June 1982.
38. Billington, Guardian, 30 June 1982.
39. David Nathan, Jewish Chronicle, 9 July 1982.
40. James Fenton, Sunday Times, 4 July 1982.
41. Antony Sher, “The Fool in King Lear,” in Players of Shakespeare 2, ed. Russell Jackson and Robert Smallwood (1988).
42. Adrian Noble, interview for King Lear, RSC Education Pack, 1993.
43. Robert Wilcher, “King Lear,” in Shakespeare in Performance, ed. Keith Parsons and Pamela Mason (1995), p. 91.
44. Gordon Parsons, Morning Star, 5 July 1982.
45. Alexander Leggatt, King Lear, Shakespeare in Performance (1991),p. 55.
46. Wilcher, “King Lear,” p. 93.
47. Janet Dale, in RSC Education Pack, 1993.
48. Benedict Nightingale, The Times, 12 July 1990.
49. Billington, Guardian, 13 July 1990.
50. Nightingale, “Some Recent Productions,” p. 231.
51. Emily Raymond, King Lear, RSC Online Playguide, 2005.
52. Nicholas de Jongh, Evening Standard, 21 May 1993.
53. Michael Billington, Guardian, 22 May 1993.
54. Nightingale, “Some Recent Productions,” p. 239.
55. Paul Taylor, Independent, 5 July 2004.
56. Peter J. Smith, in Cahiers Élisabéthains, No. 66 (2004).
57. Billington, Guardian, 30 June 1982.
58. Charles Marowitz, “Lear Log,” Tulane Drama Review, Vol. 8, No. 2 (Winter 1963), pp. 103–21.
59. Redgrave, King Lear.
ACKNOWLEDGMENTS AND
PICTURE CREDITS
Preparation of “King Lear in Performance” was assisted by a generous grant from the CAPITAL Centre (Creativity and Performance in Teaching and Learning) of the University of Warwick for research in the RSC archive at the Shakespeare Birthplace Trust. The Arts and Humanities Research Council (AHRC) funded a term’s research leave that enabled Jonathan Bate to work on “The Director’s Cut.”
Picture research by Helen Robson, Jan Sewell, and Kevin Wright. Grateful acknowledgment is made to the Shakespeare Birthplace Trust for assistance with picture research (special thanks to Helen Hargest) and reproduction fees.
Images of RSC productions are supplied by the Shakespeare Centre Library and Archive, Stratford-upon-Avon. This library, maintained by the Shakespeare Birthplace Trust, holds the most important collection of Shakespeare material in the UK, including the Royal Shakespeare Company’s official archive. It is open to the public free of charge.
For more information see www.shakespeare.org.uk.
1. Robert Armin © Bardbiz Limited
2. Mr. Macready (1838). Reproduced by permission of the Shakespeare Birthplace Trust
3. Directed by Theodore Komisarjevsky (1936). Reproduced by permission of the Shakespeare Birthplace Trust
4. Directed by John Gielgud and Anthony Quayle (1950). Angus McBean © Royal Shakespeare Company
5. Directed by Peter Brook (1962). Angus McBean © Royal Shakespeare Company
6. Directed by Trevor Nunn (2007). Manuel Harlan © Royal Shakespeare Company
7. Directed by Deborah Warner (1990). © Donald Cooper/Photostage
8. Directed by Adrian Noble (1993). © John Bunting
9. Directed by Adrian Noble (1982). Joe Cocks © Shakespeare Birthplace Trust
10. Reconstructed Elizabethan playhouse © Charcoalblue
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Act 1 Scene 1
1.1 Location: the royal court, Britain
1 affected favored
5 qualities … moiety their qualities are so evenly balanced that the most careful scrutiny cannot distinguish between either man’s share
8 breeding upbringing (plays on the sense of “conception”) charge cost (plays on the sense of “accusation, blame”)