listings of up-coming productions; informative but not scholarly.
Full text since 1995 searchable on EBSCO
(EBSCO is an online citations database which provides access
to electronic journals and full text of articles for those journals
managed through EBSCO.)
Vol 12, Issue 5,
May/June 1995, 71-8, D.L., What the Hecuba.
(An article about Timberlake Wertenbakers adaptation of
Hecuba at the American Conservatory Theatre, San Francisco,
June 1995, with Carey Perloff directing, and Olympia Dukakis
Vol 13, Issue 10,
December 1996, 7-9, Belinda Taylor, That Special Argonaut.(Report
on the success of John Fishers Medea, the Musical,
detailing its commercial success, the focus of the action, honours
awarded to it, and information about John Fisher and the ensemble.)
Vol 14, Issue 10,
December 1997, 32-4, Chris Jones, Iphigenia Illuminated.
(A full, descriptive account of JoAnne Akalaitis production
with the Court Theatre of Chicago in Illinois of Iphigenia
in Aulis and Iphigenia in Tauris in October 1997.1
b/w photo of Anne Dudek (Iphigenia) rapping into a microphone.
There is another full review of this production in The Village
Voice, 27/1-2/2/1999, Iffy Situations, Michael
Feingold. Search through The
Village Voice homepage.
Vol 14, March 1998,
pp 13-17, Irene Oppenheim, 'Come Fly With Me'' comments on comedy
ensemble Culture Clash's adaptation of Aristophanes' 'Birds';
changes in the use of contemporary references; departures from
the ancient Greek incarnation.
Vol 15, Issue 7,
September 1998, 1-2, Jim OQuinn, Danger is Her Business.
Edited interview focuses on stage actress Karyofyllia Karabetis
discussion of her role as the heroine in the National Theatre
of Greeces production of Medea. Complexity of role;
pertinent message of play for society. 1 b/w photo.
Includes Review articles and poetry/prose
Third Series, Vol 4, Issue 1, 1996
(a) Herbert Golder
'Geek Tragedy, or, Why Id Rather Go to the Movies' Includes
a review of ' Les Atrides', Brooklyn Academy of Music 'Oedipus
Trilogy', Royal Shakespeare Company, Barbican Theater, London,
' Medea', Almeida Theatre, London/Lonacre Theater, New York
. (cf. response to Golder's article by Oliver Taplin in Arion,
Third Series, 5.3, Winter, 1998.)
(b) Tony Harrison
'The Labourers of Herakles'.
(c) Robert Sonkowsky
'The Uses of Imprecision: The Clytemnestra Project at the
(d) Ruth Padel
'Ion: Lost and Found Ion, the Lost Boy', co-production of
Actors Touring Company, London and Piramatiki Skini tis Technis,
Thessaloniki and 'Ion', Royal Shakespeare Company, Barbican
(e) Oliver Taplin
'Les Atrides', Vincennes/Bradford.
Third Series, Volume
8 Issue 3, 2001, pp 90-114
pp 90-114, Marianne
McDonald, 'A Classical Soap Opera for the Cultural Elite :
Tantalus in Denver'
Vol. 7, October 1985, 31-44; Gabrielle Hyslop, Has Ariane
Mnouchkine sold out?
Vol. 3, n.4, Summer 1983, 193-9, Gregory A. Staley, "But
Ancient Violence Longs to Breed": Robinson Jefferss The
Bloody Sire and Aeschyluss Oresteia.
Vol. 15 , 1998, Karelisa V. Hartigan 'Herakles in a Technological
World : An Ancient Myth Transformed'
Vol. 11, n. 4, Summer 1991, 317-24, Lowell Edmunds, Oedipus
in the Twentieth Century: Principal Dates. (Themes and figures
of Oedipus myth; includes list of works.)
Wide-ranging in its subject matter, this journal lives up
to the promise of its title. Some scholarly articles, some much
more practice-based. Well worth a trawl.
22, n. 1, Spring 1988, 37-55; S. Georgia Nugent, Masking
Becomes Electra: ONeill, Freud and the Feminine.
23, n. 1, Spring 1989, 3, Anthony Kubiak, Trial and Terror:
Medea "Prima Facie".
27, n.3, Fall, 1993,
a) 271-85; Brian
Johnston, The Metamorphosis of Theseus in Oedipus
b) 286-305; Jerome
Mazzaro, Mnema and Forgetting in Euripides
The Bacchae. (Theatre as a form of artificial
memory. Theoretical, not performance focused.)
c) 377-98; Robert
Baker-White, The Politics of Ritual in Wole Soyinkas
The Bacchae of Euripides.Use of cross-cultural
references to anarchic rituals (e.g. maypole dancing). Baker
White takes issue with Brian Crows Romantic defence
of Soyinkas play. See, too, Theatre Research International,
a) 334-47; Albert
Wertheim, Euripides in South Africa: Medea and
Demea. Guy Butler wrote his version of Medea,
Demea, in 1990 (publ. Cape Town & Johannesburg,
David Philip, 1990), at a time when the strictures of
apartheid were loosening (Wertheim). His play is set
in mid-nineteenth-century colonised S. Africa, and this article
gives a good idea of how his reworking of the racial
and cultural prejudices he found in Medea arose
from the context of that period.
b) 466-77, Timothy
Richard Wutrich, A Proposal for a Theater Museum: Staging
the fragments of Greek and Roman Drama. Wutrich suggests
making intelligent guesses in order to reconstruct fragmentary
texts - a similar approach to, for example, Russell Shones
work on Andromeda with Chloë Productions.
30, n. 2, Summer
1996, 135-57, Anne Russell, Tragedy, Gender, Performance:
Women as Tragic Heroes on the Nineteenth-Century Stage.
Mostly about women in Shakespearean male tragic roles, but some
information on a version of Ion by Thomas Noon Talfourd.
Interesting about cross-dressed performances.
1995, 54-70. Fiona MacIntosh, 'Under the Blue Pencil' An account
of censorship of Oedipus Rex in England between 1679-1912
Didaskalia appears exclusively in electronic format on the
WorldWideWeb. The first four issues were originally archived at
the University of Tasmania, Australia and are now published by
The Open University, England at didaskalia.open.ac.uk.
Regular issues appear in quarterly; supplemental issues consisting
of conference proceedings, new translations, and relevant monographs
will appear at intervals when there is no regular issue. Each
issue from 1.1 to 3.1 has a theme around which its feature articles
are centered. Themes have included 'Education and Outreach', 'Beyond
Spoken Drama', 'Translating for the Stage', 'Fusions of Greek
and Asian Drama,' and 'Embodying Ancient Theater.' A small sample
from the Reviews section is given below.
1998, Mark Fleishman's 'A South African Medea', reviewd by Margaret
1996, 'Medea', Actors of Dionysus (Tr. and Directed by David
Stuttard), reviewed by Sallie Goetsch,
1996, Seamus Heaney's 'Cure at Troy' (Directed by Francis Watson),
reviewed by Marianne McDonald, http://www.didaskalia.net/issues/vol3no2/macheaney.html
1995, 'Frogs' Review of the RNT Mobile Production performance
in Belfast, review by Antony Keen, http://www.didaskalia.net/issues/vol3no1/keen.html
Published by the Actors of Dionysus, each volume was originally
designed to accompany an AoD production and provides background
information and discussion of the events and topics in the play,
and incudes essays and transcripts of pre - performance talks
& lectures.Further information is available at the company's
Issue 1, Alistair Elliot, 'On Translating Medea'. Article by
Elliot on his translation and adaptation of the Medea for
the Almeida (Diana Rigg) production (See DB no 168).
Issue 6, 1996, Lorna Hardwick, 'Euripides' Medea' : A
Mystery of Family Values' (DB no 171).
Issue 9, 1998, Lorna Hardwick 'Male and Female Heroism in Sopholcles'
Ajax'. General background information
Issue 12, 1999, Lorna Hardwick, 'Translating Hippolytus for the
Modern Stage'. Text of a pre-performance talk (Hippolytus,
Actors of Dionysus, Steiner Theatre, 19th March 1999).
Issue 15, 2001, Lorna Hardwick, 'The Play's the Thing : Modern
staging of the Bacchae
Issue 15, 2001, Ruth Hazel, 'Performing 'The Bacchae'.
2, 1993, 195-211, S. Halliwell, The function and the aesthetics
of the Greek tragic mask.
The following essays from the 1960s are interesting for their
academic, non-performance-based approach, which reveals how Greek
drama was still being viewed at that time.
Vol.1, n. 2, October 1961, 133-48, H.D.F. Kitto, Oedipus
Vol 3, nos.1-3, Spring 1963-Winter64, 33-41; Lillian Feder,
The symbol of the desert Island in Sophocles Philoctetes.
Vol. 4, n.1, Spring 1965-9, 3-27; William V. Spanos, T.
S. Eliots The Family Reunion: the strategy of sacramental
transfiguration. More concerned with the Christian than
Vol 4, n.2, Summer 1965, 149-58; Harry L. Levy, The Oresteia
An example of a journal providing a one-off item
relevant to this area. However, for articles on other aspects
of Eastern European theatre, this publication, and Theatre in
Poland (texts trans. into English and French) are worth checking.
22: 4, Winter 1988, 38ff, Paul Keresztes, Sophocles
Electra as a Hungarian Morality Play.
Usually concentrates on Canadian theatre, so worth checking
for known Canadian productions or projects on Greek drama.
n. 2, 1, November 1983, Peter Arnott, Some costume conventions
in Greek Tragedy.
A feminist, rather than a theatre journal. A list of past issue
contents can be found on the Frontier
Vol. 8, n. 1, 1984, 54-9, Carolyn A. Durham, Medea: Hero
The IJCT, the official publication of the International Society
for the Classical Tradition, is a quarterly periodical devoted
to the scholarly study of the reception of Graeco-Roman antiquity
in other cultures and later periods. It features articles, book
reviews and review articles, short notes, research reports, and
news of the field in any of five languages: English, French, German,
Italian, and Spanish (all articles with abstracts in English).
Available also on the web by subsciption only. For contents list
and details of how to subscribe see the Society's web page http://web.bu.edu/ict/toc-intro.html
, or email firstname.lastname@example.org.
Vol. 3 no. 3, Winter 1997, 326-338, Lorna Hardwick, 'Reception
as Simile : The Poetics of Reversal in Homer and Derek Walcott'.
The article examines the simile as a formal technique which also
generates and transmits intertextual relationships.
Vol. 4 no. 2, 1997, 232-246, Richard C. Jones III, "Talking amongst
ourselves": Language, Politics and Sophocles on the Field Day
1994, Summer, 107-128, Timothy Hofmeister, 'Iconoclasm, Elegy
and Epiphany : Derek Walcott contemplating the bust of Homer'.
[Return to top]
In its opening issue, the editor regrets the demise of Theatre
Ireland journal, and hopes this electronic publication will
help to fill the gap left by that journals going. Contributions
vary from the papers given at a conference at the Drama Studies
Centre, Dublin, as part of the 1997 Dublin Theatre Festival, to
an interview with Brendan Kennelly, to reviews of plays currently
in production. Electronically available at ITF
1.2, Winter 1997: Papers from the Greeting the Critic
Conference at UCD, 1997.
2.2, Summer 1998: Kelly Younger in interview with Brendan Kennelly,
Dionysus in Dublin: Brendan Kennellys Greek Triology
[sic]. (Kennelly on Antigone, Medea and Trojan
2.3, Autumn 1998: Titto Repetto, A Mask of Blood: a review
of the Donmar Warehouse production of Electra.
Full archive of reviews of shows in London since 1981; held
at the Theatre Museum, Covent Garden, London. Locate shows by
date of performance in London, irrespective of where they previewed.
Publicity stills and other material can be viewed by arrangement
with the Education office of the museum.
1988, September; publicity materials and collected reviews of
the London performances of Nancy Mecklers production of
The Bacchae with Shared Experience.
See also 1998, October 21, for a review of Purcarete's Oresteia.
As the title suggests, this is a good place to look for essays
on modern versions of Greek texts, or on modern theatre responses
to ancient drama.
Vol. 33, n. 1, March 1990; in Drama East and West,
Martha Johnson Bancroft, Reflections of Inner Life: Masks
and Masked Acting in Ancient Greek Tragedy and Japanese Noh Drama.
(Useful bibliographic notes, spanning Noh theatre and Greek tragedy.)
Vol. 35, n. 3, September 1992, 409-24; Alison Hersh,
"How sweet the kill: Orgiastic Female Violence in Contemporary
Re-visions of Euripides Bacchae". In particular,
Maureen Duffys Rites and Caryl Churchills A
Mouthful of Birds. Gender issues.
Vol 38, n. 4, Winter 1995, 510-19; Joe Winston, Re-casting
the Phaedra Syndrome: Myth and Morality in Timberlake Wertenbakers
The Love of the Nightingale.
Vol. 39, 1996, 190-210; Lizbeth Goodman, Whos Looking
at Who(m)?: Re-viewing Medusa. (Medusa as a lesbian
theatre-maker - Medusa as a metaphor for the transformative
power of women. Refers to Ithaka (1989), by Nina Rapi,
and Medusa (1993), a one-woman performance piece by Dorothea
Smartt. Gender issues.)
Vol. 41, n. 1, Spring 1998,
(a) 105-18; Mervin McMurty, "Greeks Bearing Gifts;
Athol Fugards Orestes Project and the politics of
experience. (Detailed and fascinating account of
Fugards creation of his 1971 Orestes. Includes much
material from Fugards own production diary. Particularly
useful as there is no extant performance text of the play.)
(b)Colin Teevan, 'Northern Ireland : Our Troy?' With
reference to his production of Iphigenia(DB no. 999)
Previously called Theatre Quarterly. A treasure-house
of essays on all aspects of theatre, interviews with practitioners,
and occasional illustrations. In collected editions there is an
index at the end of Vol. XV
Vol. IV, n.13, February 1988, 3-16, Geraldine Cousins interview
with Caryl Churchill, The Common Imagination and the Individual
Voice. (Includes a section on A Mouthful of Birds
about possession and transexuality, and talks about collaborative
working. Churchill says: "We werent thinking all that much
of the play, more of the story which Euripides was using."
Vol. IV, n. 16, November 1988, 321-5; Paola Polesso, Searching
for a Satyr Play: the significance of the "parodos". (Compares
the parodos of Sophocles The Searching Satyrs
to the choral entrance in Aristophanes Acharnians.
Includes Polessos own translation of part of The Searching
Satyrs, because: I was unable to find a literal translation
in English of this rather fragmentary part of the Sophoclean text.)
Vol. V, n. 19, 264; The Bite of the Night.
(Brief account of a rehearsed reading of this Howard Barker play
at the Almeida, with Ian McDiarmid as the choric figure of MacLuby.
The play was commissioned but not performed by the Royal Court
Theatre, being staged at the Pit Theatre at the Barbican. It was
set in the ruins of Troy and in a modern day university, and juxtaposed
two kinds of cultural disintegration.)
Vol. VII, n. 25, February 1991; Günther Klotz, Howard
Barker: Paradigm of Postmodernism. (A review-survey of two
of Barkers plays: The Last Supper and The Bite
of the Night.)
Vol. VII, n. 27, August 1991, 238-45, Sue-Ellen Case, The
Power of Sex: English Plays by Women 1958-88. (Discussion
of Wertenbakers The Love of the Nightingale as a
feminist critique of rape, and of Churchills A Mouthful
of Birds as an investigation of sexual preference and sexual
Vol. VIII, n. 32, November 1992, 389ff., Peter Barnes, Working
with Yukio Ninagawa. (Includes discussion of Ninagawas
samurai productions of Macbeth and The Tempest
as well as of his Medea (the hit of the 1986 Edinburgh
Festival) and Oedipus Rex with a chorus of 160.)
Vol. IX, n.34, 1993, 107-9; Jan Kott, Why did Antigone
kill herself? (Alienation and victimisation from Sophocles
to the twentieth century.)
Vol. IX, n.35, August 1993, 267-89, Susan Carlson, Issues
of Identity, Nationality and Performance: the reception of two
plays by Timberlake Wertenbaker. (The two plays are Our
Countrys Good and The Love of the Nightingale.)
Vol. IX, n. 36, November 1993:
a) 316-28, Leslie
Du S. Read, Social Space in Ancient Theatres.
b) 357-66, Lizbeth
Goodman, Theatres of Choice [mentions Lysistrata]
Vol X, n. 40, November
a ) 327-30, Anna
Krajewska-Wieczorek, Two Contemporary Antigones.
(An account of two versions loosely based on the Antigone
myth: Griselda Gambaros Antigone Furiosa (September
1986, Goethe Institute, Buenos Aires) and Janusz Glowackis
Antigone in New York (March 1993, Arena Theatre, Washington).
b) On p. 381,
a photograph of Jan Kott directing Euripides Orestes
at the University Theatre, Berkeley, in 1968. (This NTQ
is a Jan Kott Eightieth birthday celebration issue - a mini-festschrift,
with tributes and essays by Eugenio Barba, Peter Brook, Charles
Marowitz, Stanley Wells, Martin Esslin, and others.)
Vol. XIII, n.50,
May 1997, 133-43; Carol Chillington Rutter, Harrison,
Herakles, and Wailing Women: "Labourers" at Delphi. (An
account of the one-off performance of The Labourers
[sic] of Herakles for the 8th International Meeting
on Ancient Greek Drama at Delphi.)
Vol. XV, n. 58,
May 1999, 142-64, Catherine Diamond, The Floating World
of Nouveau Chinoiserie: Asian Orientalist Productions of Greek
Tragedy. (Survey of three non-English, non-Greek language
versions of Greek originals - two of the Bacchae, one
of the Oresteia. Productions were in 1995 (Taipei), 1997
(Kuala Lumpur) and 1998 (Hong Kong). The Oresteia (1995,
in Taipei) was by Contemporary Legend Theatre in collaboration
with invited director, Richard Schechner.)
Vol XV, n.60, November
1999, 332-38, David Roberts, Making the Words Count: Towards
an Analytical Database of Theatre Reviews. (Computerizing
the critics and what it tells us about their methods.)
Vol. 151, 1984, 88-92, Teresa U. Njoko, The Influence of
Sophocles Oedipus Rex on Rotimis The Gods
Are Not to Blame.
A lively and well illustrated bi-annual journal produced by
the Joint Association of Classical Teachers for senior school
students and undergraduates.
Vol. 26 1993, Doran Gregory 'Staging the Odyssey', on his own
production of Derek Walcott's Odyssey. (DB no.845)
The Project Website contains a searchable database which gives
access to details of productions of Ancient Greek plays, performed
in English, since 1975.
1998 (-ongoing), Lorna Hardwick, Project Database, published
electronically : http://www2.open.ac.uk/ClassicalStudies/GreekPlays
1996, The Reception of Classical Texts and Images Online
papers from a two-day international Conference held at the Open
1999, Online papers from The Open Colloquium Tony Harrison's
Poetry Drama and Film : The Classical Dimension http://www.open.ac.uk/Arts/Colq99/
1999, Theatre : Ancient and Modern Online papers from
a two-day international Conference held at the Open University.
The purpose of the Archive is both to serve as a repository of
physical materials relating to the stage history of the works
in performance, such as playbills, programmes, reviews, drawings,
photographs and audio-visual recordings, and also to compile a
comprehensive production history of ancient drama on the modern
stage in the form of a fully searchable relational database. http://www.apgrd.ox.ac.uk/
Vol. 6, n. 3, 1982, 67-86, Gautam Dasgupta, Ariane Mnouchkine.
Vol. 10 n. 1, 1986, 50-54, Mark Robinson 'Antigone'. A review
of Sophocles' Antigone1986 (dir. Andrzej Wajda, performed
at the Stary Theatre, Krakow).
Vol. 45, n. 15 (3), September 1993:
- a) 1-28, John
Chioles, The Oresteia and the Avant-Garde: Three
Decades of Discourse. (Mnouchkines Les Atrides
is the core production, with references/ comparisons to those
by Peter Hall, Peter Stein and Karolos Koun. b/w production
- b) 29-79, Charles
L. Mees playtext version of Euripides Orestes
Also, from the PAJ
'Casebook' series, 1986 : Alcestis. The Casebook, based
on interviews taped by Elinor Fuchs, includes comments from
all involved in Robert Hyde Wilson's 1986 production. Includes
an excerpt (Scene 2), and cast list.
This journal is full-text available on EBSCO,
and gives the playtexts of new works. The archive is searchable
Monthly publication. Founded 1953; published until 1981
by Hansom Books, and included playtexts of new and unpublished
plays. Closed briefly in 1981 and reopened in October 1981 under
Brevet Publishing Ltd, and later transferred to Plusloop Ltd.
Both versions include reviews, listings, and short articles.
The earlier sequence was the more academic and carried articles
and reviews by, e.g., Martin Esslin, Michael Coveney, B. A.
Young and John Russell Taylor, as well as numerous excellent
photographs, and cast lists. The post-1981 publication has fewer
illustrations, and seems pitched at a less academic audience.
It provides reviews, interviews, listings of current productions
and biographical materials. For reviews of productions,
check issues of the month after the opening.
1969 (between March and October), 57-66, full playtext of Maureen
Duffys Rites (A version of the Bacchae.
It was published by Methuen in the autumn of 1969. Full cast
Roose-Evans, The Opened Box: James Roose-Evans explores
the Oedipus myth in relation to his current production.
(Oedipus Now developed from workshop improvisations at the
Hampstead Theatre Club and from a 1971 production for the
Contemporary Greek Theatre in Athens. This article carries
two costume designs and a b/w photo.)
b) 47-8, Peter
Ansorges review of Luca Ronconis production of
the Oresteia for the sixth Belgrade festival (BITEF 6), with
two b/w photos.
October 1973, 58-9,
John Lahr reviews Wole Soyinkas The Bacchae of Euripides:
A Communion Rite at the National Theatre (The Old Vic).
(Full cast list and three b/w photos. Lahrs review characterises
the production as another example of Eros denied.
Commends John Shrapnels Pentheus as the only performance
that rises to the level of competence, but really blames
Soyinka, not the performers, for this tragedy turned into
January 1979, 44-9,
playtext of David Rudkins Hippolytus (Part I)
February 1979, 44-9,
playtext of Hippolytus (Part II). Also, (pages 18-9),
a review by Jeremy Treglown of the December 1978 production
of the play at The Other Place by the RSC. (In the February
issue there are in all four b/w photos. The review is critical
of Ron Daniels directorial decisions, but positive about
the acting. Full cast list.)
January 1980, preview
of the RSC production The Greeks.
February 1980, review
by Peter Stothard of John Barton and Kenneth Cavanders
The Greeks. (Mention made of Peter Halls intentions
for an Oresteia. Several b/w photos.)
January 1982, 22-5,
review by Martin Esslin of Peter Halls production of Tony
Harrisons translation of the Oresteia. (Intelligent
review which registers the value of Halls experiment,
but suggests a personal resistance to it. Esslin doesnt
like Harrisons reconstruction of an antique language or
his occasionally demotic vocabulary. Four excellent b/w photos,
plus the colour picture of the Eumenides on the cover.)
February 1982, More
Music Men - material on Harrison Birtwistles music
for Peter Halls 1981 Oresteia.
'Behind the Fringe'. Brief "Behind the Fringe" item and interview
with Timberlake Wertenbaker when she was working with the theatre
company, Shared Experience, as resident writer.
May - September
1993, series of articles by Sophie Back, A Rough Guide
to Greek Theatre. (A very rough guide: some irritating
howlers (Oedipus credited with giving birth to four children,
for example), and an over-popularising tone. However, this series
indicates that the journals editors felt there was a need
for some audience-friendly programme notes about Greek drama;
listings for this year show a Lysistrata on tour, and
Purcaretes Phaedra and Peter Steins Persians
at the Edinburgh Festival.)
a) 24, review
by Joe Farrall of ONeills Mourning Becomes
Electra, at the Citizens Theatre, April 1991. (Includes
cast list and one b/w photo of Glenda Jackson (Christine Mannon)
and Gerard Murphy (doubling as Ezra and Orin Mannon). Informative.)
review by Graham Hassell of Heaneys The Cure at Troy,
at the Tricycle Theatre. (Descriptive details, cast list, and
one b/w photo of Des McAleers Philoctetes, in this Field
Day production, directed by Stephen Rae and Bob Crowley.)
November 1991, 11-13,
What Katie Does, interview with Katie Mitchell.
(Mitchell had just directed Women of Troy at the Old
Red Lion and the Gate Theatre in London, with Classics on a
96-7, Carole Woddis, Les Atrides. More than
just a review; a subjective response and an evocation of the
experience of this test of endurance - Ariane Mnouchkines
version of the Oresteia at Robin Mills in Bradford, July
Reviews, listings, interviews and playtexts. The magazine
has reviewers in North America, Europe and Australia, and often
includes coverage of (British) T.V. radio, film, and major drama
festivals. For reviews of productions, check issues of the month
after the opening.
Vol. 3 n. 12, July 1988, 14-5, Steven Berkoff in interview with
Mark Shenton. (As well as retrospection on Berkoffs past
work, this interview carries some insights into Berkoffs
attitudes to theatre work, and some information about the production
of his 1979 reworking of the Oedipus myth: Greek. One b/w
photo of the Greek company.)
Vol. 4 n. 3, October 1988, 24-6, Oscar Moores review of
Howard Barkers The Bite of the Night. (An outstandingly
damning review: when Moore describes Barker as: a writer
possessed of a great well of imaginative vitriol whose depths
he plumbs with heavy slop buckets, he could be writing about
his own review of the play. It is, nonetheless, a review which
is informed and informative, and makes positive comparison with
Berkoffs Greek. Two b/w photos - one of The
mutilated Helen of Troy.)
Vol. 4 n. 7, February 1989, 25-6, Ned Chaillet, review of Sophocles
Electra at The Pit. (In addition to reviewing Fiona Shaw
in this RSC production, directed by Deborah Warner, Chaillet surveys
the ancient Greek presence in recent theatre, noting that: in
recent years the Greek dramatists have become theatrical barometers
of social change. 1 b/w photo.
Vol. 13 n. 5, January/February 1998, 12-4, M. K. MacMurraugh-Kavanagh,Myth-making
and Myth-breaking. An interview with Peter Shaffer. (The
second part of an interview begun in the December 1997 issue.
In this part, Shaffer talks about The Gift of the Gorgon
(1992, reviewed in, e.g. Plays & Players February 1993).
He says he was perhaps muddying the waters by adding
the Perseus myth to the plays basic story source, the Agamemnon.)
Vol. 15 n. 3, December 1999, 42-6, full playtext of Maggie Roses
English translation of Paolo Puppas The Minotaur.
(Paolo Puppa is Professor of History of Theatre at Venices
Ca Foscari University, and this monologue (which won the
Monologue Prize at Perugias Monte di Vibio Theatre festival)
belongs to a series of ancient myths Puppa rewrote in a
modern and grotesque translation to reflect a time when the ancient
Gods are dead and seem to hide in the shadow of their memory(P.I.,
42). This reader (RMH) found it a rather unsavoury piece (over-simplistic
use of masturbation as an image of self-absorption in response
to rejection), but it may work better in performance. There are
echoes in this play of Sarah Kanes Phaedras Love
The publicity fanzine for the RSC, this is chiefly
to be valued for its photographs, many of them in colour. Chatty
style, but occasional useful insights into planning and production
at the RSC.
Issue 5, Spring 1992, 18-9, Oliver Taplin, Its All
Greek?, on ancient Greece in a modern world, and (20-1),
Gregory Doran on directing Derek Walcotts version of the
Odyssey. Five small colour and one b/w photos of the RSC
Theban Plays. Taplin briefly surveys Greek drama in contemporary
theatre, and, via Walcotts Omeros, introduces
Dorans account of the staging of Walcotts Odyssey.)
Issue 6, Autumn 1992, 4-5, Sophocles and Sainsburys:
the RSCs Antigones Project. (Gives a general
rationale, but mostly about the Cornish workshops, with Nick Darke
and Michael Shepherd leading.)]
Issue 12, Autumn 1995, 20-1, J. Michael Walton, One Blood,
One Race. (Mostly reprinted from Waltons introduction
to Methuens Euripides: Volume I, but with two b/w
photos of Katie Mitchells production of The Phoenician
Women at The Other Place, Stratford.)
Issue 18, Summer 1999, 8-9, Transforming a Classic.
Simon Reade on the staging of Ted Hughes Ovids
Metamorphoses in The Swan, Stratford. (Ten small
coloured photos, which give a good indication of the overall design
of the production.)
The Review Books are not published, but are available for
consultation by arrangement with the Shakespeare Centre Library,
Stratford-upon-Avon. These collections of reviews bring together
critiques of RSC productions from national and regional newspapers
and journals. Search by year and months of opening in Stratford
or London. For example:
August - December 1992, reviews and photos of The Thebans
(Timberlake Wertenbakers translation) at the Swan Theatre
December 1991-January 1992.
copies and photos of productions can also be viewed by arrangement.
Of particular interest are the MSS of playtexts which were specially
commissioned for the RSC - for example:
Hippolytus: A Realisation (November1978, at The Other Place,
Stratford. See also Plays & Players, January &
Vol. 2, 1997
(a) 55-87, Yvonne
Banning, '(Re)Viewing Medea : cultural perceptions and gendered
consciousness in reviewers' responses to new South African
theatre' . Includes discussion of A South African Medea
(Mark Fleishman), performed in 1994 (DB no. 827)
(b) 199 -215,
Mark Fleishman 'Physical Images in the South African Theatre'
on his production of A South African Medea (DB no.
Vol. 10, 1999, Gamel, Mary-Kay, 'Staging Ancient Drama: the Difference
Vol. 10, 1999, Hazel , Ruth, 'Unsuitable for Women and Children?:
Greek Tragedies in Modern British Theaters'
Vol. 11, 1991, 19-24, William K. Freiert, Timeless Oedipus:
"The Primitive" in Three Modern Adaptations. (Interest here
lies in the contrast/comparison of different art forms: Anthony
Burgesss novels (Burgess collaborated on the 1972 second
Guthrie production); Martha Grahams Night Journey,
Olawale Rotimis play The Gods Are Not to Blame, and Tyrone
Guthries production of Oedipus Tyrannus.)
Vol. 8, 1992, 45-51, Joseph Rice, The Blinding of Mannon
House: ONeill, Electra and Oedipus. (Mourning Becomes
Electra; discussion of the facial expression as mask.)
Full text searchable since 1997 through EBSCO.
Vol. 13, n. 3, Spring, 1969, 156ff, Stefan Brech, Dionysus
in 69. (A review of Richard Schechners radical
and often outraging version of the Bacchae.)
Vol 37, n. 1, Spring 1993, Eelka Lampe, Tadashi Suzuki
and Anne Bogarts Saratoga International Theatre Institute.
Account of the Saratoga experiments in theatre; includes information
on Bogarts version of Orestes and on Suzukis
Vol 38, n. 3, Fall, 1994, Sally Goetsch, Playing Against
the Text; Les Atrides and the History of Reading Aeschylus.
Vol. 41, n. 2, Summer 1997, 153-6; Richard Schechner reviewing
Bharat Gupts Dramatic concepts Greek and Indian: A Study
of Poetics and Natyasastra. (Schechner gives a very full and
enthusiastic review of this work, recommending it for inclusion
in courses on cross-cultural performance theories and comparative
1985, Vol. 36, no. 4, 244-249; Kevin Barry, 'Cinema and Feminisim
: The case of Anne Devlin' (DB no 284)
Volume II no.3, Summer 1980,
Memo to the Director'. From William Arrowsmith (translator
of Euripides at Bay (DB no 955) based on Thesmophoriazousae,
to James Malcolm, Director, on : 'Agathon's choral song and
the "New Music" '. Excerpt of the text of Arrowsmith's translation
Bharucha, 'Directing the Greeks' (discusses a production of
Euripides at Bay.
(c) 33-35; John
Barton 'Notes on the Greeks' In his article Barton questions
some of the stage traditions relating to Greek tragedy and
suggests how Greek tragedy should be performed today. Makes
reference to the RSC's production of 'The Greeks'.
(d) 37-42; ' John
Barton Directs 'The Greeks''. Richard Beacham attempts to
answer the question 'Do we need Greek drama?'. (See DB no.
(e) 49-53; 'Peter
Arnott's Marionettes and The Bacchae'. Discussion of
Marionettes in modern productions of Greek tragedy.
(f) 55-58; 'Antigone
in Calcutta : A Director's Notes'. An account of the production
of Antigone in Calcutta, by the Director, Hansgunther
Heyme. Includes a photograph of the Chorus.
n. 3, Fall 1987, 71-4, David Carpenter, Peter Brooks
Mahabharata. (Interesting, not for any obvious
ancient Greek connections, but because it discusses the problems
of cultural importation: taking a 2500 year-old Sanskrit epic
text from its traditional setting and developing it through
various cultural contexts. Worth comparing with, e.g. Christopher
Logues narrative performance version of parts of the Iliad
and Derek Walcotts performance version of the Odyssey.)
n.8, Spring 1990, 69-74, Constance Valis Hill, Acting
and the Neutral Mask: Mastering the Silent Moment. (About
Pierre LeFevres work on masks with students at the Julliard
First issue Sept/October 1995. Sub-titled: The magazine
for theatre-lovers everywhere, this verges on being a
luvvies fanzine. It has U.K. listings, brief
reviews and colour as well as b/w photos. It also has one-off
articles on theatre in the U.K. regions, profiles on individual
theatre figures - mostly actors - and items on different aspects
of theatre: opera, pantomime, music, wig/make-up; touring, etc.
March/April 1996, 31, Timothy Ramsden review of the Kaboodle
touring company production of the Bacchae. Informative
detail; sadly, no pictures.
Vol 42, 1987,
Birringer, Brecht and Medea: Heinrich Müllers
Stanton, A defence of the deus ex machina
in Euripides Orestes.
Vol 50, 1997, Ronald
W. Vince, The Ritual and Performative Basis of Greek Combat
Sport and Hoplite Warfare.
This review article from a now extinct journal is included
because it relates to the first production of Jeffers
version of Medea - a version which continues to be favoured
for performance in the US.
31: 12, December 1947, 36, John Gielgud and Judith Anderson
in Medea (review).
Searchable since 1997 on EBSCO.
Abstracts/ brief information. As its title suggests, this magazine
is predominantly concerned with the technical and practical
aspects of stage and screen production and has valuable photographic
evidence of design. This publication was renamed Entertainment
Design in January 1999.
Vol. 28, Issue 5, May 1994, 12, Edward Karam, High Priestess.
(Design and production of the opera Iphigenie en Tauride.
Priestess Iphigenia seven foot tall with shaved head; description
of other costumes; side flats decorated with capillaries in
red and blue-green; Surrealism in Act Three.)
Vol. 28, Issue 7, Aug-September 1994, 10, Albert Lampert-Greaux,
Terrors From the Greek. Report on the Broadway production
of Medea (Diana Rigg as Medea). (Information about set
design by Peter J. Davidson; colour theme; mechanical working
of set; costumes; construction of steel walls.)
Vol. 29, Issue 1, January 1995, 9, Glenn Loney, Edinburgh
Festival (Reports on set designs at the 1994 Edinburgh
Festival, including Peter Steins Oresteia. Two
Vol. 29, Issue 4, 7, D. B., War Widows.
(Report on the design for Ellen McLaughlins play Iphigenia
and Other Daughters. Set designer Narelle Sissons
white set with use of see-through black scrim for third play
(Iph. at Tauris); strapping of women characters; Sissons
design collaborators. 1 b/w photo.)
searchable at Theatre
Issue 1, Marianne
McDonald, The Atrocities of Les Atrides: Mnouchkines
Issue 2, Marianne
McDonald, The Menace of the Eumenides: Midnight Madness
Vol. 7, Autumn 1984; Aidan Carl Mathews, 'The Antigone'.
Searchable since 1996 through JHUP and NESLI, or on the
web at the Journal homepage.
XXXVII, 1985, 317-27, Sue-Ellen Case, Classic Drag: the
Greek creation of female parts.
XL, n. 2 1988, c. 200, Elin Diamond, (In)Visible Bodies
in Churchills Theatre. (Includes discussion of A
Mouthful of Birds - Churchills version of the Bacchae.)
XLI, 1989, 316-40, M. Damen, Actor and Character in Greek
49.1 (1997), 65-7, review of Rita Doves The Darker
Face of the Earth at the Oregon Shakespeare Festival
52.1 (2000), 115-6, Patricia Herreras review of the July
1999 N.Y.Urban Youth Theatre production of Minotaur: or The
Kings Bull, by Jonathon Ward.
54.1 (2002), 143-5, Helene P. Foley reviews Kenneth Cavander's
Agamemnon and his daughters. Review includes photograph
by Stan Barouh of Agamemnon (Jack Willis) and Klytemnestra (Gail
Vol. 45, 1991, 2-16; Alan Hughes, Acting Style in the
Ancient World. (While acknowledging the work of Pickard-Cambridge
and Oliver Taplin, Hughes laments the neglect of major
research opportunities in Greek and Roman acting styles.
He looks at documents, texts, anecdotes and visual evidence.)
Vol. 8, n. 32, 1979, 3-6, Athol Fugard; Orestes
Reconstructed: a Letter to an American Friend. (No playtext
of Fugards Orestes exists, but this article provides
details about the plays construction and production. See
DB no 2502 for details of a performance by Fugard and three
actors using mime and visual images in Cape Town, SA, 1971).
A wide-ranging, scholarly, but essentially practice-based
Vol. 12, 1987, 71, Brian Crow, Soyinka and his radical
critics: a review. (See DB no. 118 for details of Soyinka's
The Bacchae of Euripides : a communion rite)
Vol. 13, n. 2, Summer 1988, 131- 46, Dwora Gilula, The
First Greek Drama on the Hebrew Stage: Tyrone Guthries
Oedipus Rex at the Habima.
Vol. 16, n.3, 1991, 181-201, Clifford Ashby, The Siting
of Greek Theatres. (Calls for a practical nuts and
bolts approach to Greek theatre, on the lines of work
being done at that time on triremes.)
Vol. 17, n. 1, 1992, 2-7; Clifford Ashby, Did the Greeks
Really Get to the Theatre before Dawn - Three Days Running?
(A challenge to the accepted assumptions about Greek theatre,
and specially about dawn starts to the drama festival days.)
Vol. 22, n. 1, Spring 1997, 19-23, Brian Singleton, Receiving
Les Atrides Productively: Mnouchkines Intercultural
Signs as Intertexts. (A good deal of information about
setting and performance of Les Atrides. Linguistically,
a surfeit of inters - e.g.: The intercultural
sign used intertextually was a cohesive device, created and
performed by the one culture system. The intertextual reading
of the intercultural sign, therefore, made that sign monocultural.)
Vol. 23, n. 1, 1998, 69-78; Michael X. Zelenak, The Troublesome
Reign of King Oedipus: Civic Discourse and Civil Discord in
Vol. 23, n. 3, 242-48; Sandra Freeman, Bisexuality in
Cixouss Le Nom dOedipe (Discussion
of Jocastas song in the opera Le Nom dOedipe.)
Vols 28-9, 1981-2, 59-72; Dave Anderson, Spartan Masks.
(Argues for more consideration of a Spartan debt to Greek theatre.
Evidence of Spartan terracotta masks.)