All quotations from As You Like It are from Arden 3 edited by Juliet Dusinberre (London: Bloomsbury, 2006)
PROLOGUE
Enter Rosalind
1 AYLI, 2.5.1-5.
2 Dorothy Jordan as Rosalind in As You Like It by Sir WilIiam Beechey, oil on canvas, 762 x 634 mm, Private Collection, shown in ‘The First Actresses’ exhibition at the National Portrait Gallery, London, October 2011 – Januaty 2012.
3 Diary and Letters of Madame d’Arblay, (Fanny Burney) edited by her niece Charlotte Barrett, 7 vol. (London: Henty Colburn, 1842-6), 5, p. 40, Wednesday, July 29th, [1789].
4 The Autobiography of Leigh Hunt: With Reminiscences of Friends and Contemporaries,3 vol. (London: Smith, Elder & Co., 1850), 1, pp. 148-9.
5 James Boaden, The Life of Mrs Jordan, 2 vol. (London: Edward Bull, 1831) 1, p. 46.
6 W Fraser Rae, Sheridan: a Biography, 2 vol. (London: R. Bentley & Son, 1896),2, pp. 12-l3.
7 Weds 16,h Januaty 1839. www.queenvictoriasjournals.org
8 W Fraser Rae, Sheridan: a Biography, 2 vol. (London: R. Bentley & Son, 1896) 2, pp. 12-13.
9 Adrian Lester talking to Mark Lawson on ‘Front Row’, Radio 4, 27 August 2012.
10 Interview bye-mail with Adrian Lester, 9 September 2015.
11 Jonathan Bate and Russell Jackson, eds, Shakespeare: An Illustrated Stage History (Oxford: Oxford University Press, 1996), p. 6.
12 Open University video to accompany A 210 Approaching Literature, 1995.
13 AYLI, 3.2.146-8.
14 His sources are Standards of Living in the Later Middle Ages by Christopher Dyer, (Cambridge: Cambridge University Press, revised ed. 1989) p. 316, and The Tudor Tailor by Ninya Mikhaila and Jane Malcolm-Davies, (London: Batsford, 2006) p. 9 - whose figures are for sixteenth-centuty Londoners. Interestingly, people were taller in Saxon times, and got shorter than the Tudors in Georgian and Victorian times, only becoming taller again towards the end of the twentieth centuty, according to the chart in The Tudor Tailor.
15 AYLI, 3.2.262.
16 Ibid., 3.5.119-124.
17 Ibid., 4.3.50. in the letter Phebe sends to Ganyrnede via Silvius.
18 Ibid., 3.5.47-8.
19 This suggestion from Lois Potter, The Life of William Shakespeare: A Critical Biography (Oxford: Wiley-Blackwell, 2012), p. 235.
20 Published in The Twelve-Pound Look and other plays by J.M. Barrie, (London: Hodder and Stoughton, 1921). Broadcast on BBC Radio 4, 3 June 2002.
21 Information from Eileen Page who took the part of Beatrice Page at a rehearsed reading of Rosalind at the Park Theatre, London, 11 October 2015. Eileen was taught at RADA by Irene Vanbrugh who first played Barrie’s role and remembered Ellen Terry.
ACT ONE
In the Green Room – Rosalind’s Ancestors
1 Ovid’s Metamorphoses, this ed. (Oxford: Oxford University Press, 1990), trans. A.D. Melville, Book IX, final section.
2 Ibid., Book X.
3 AYLI, 2.4.1.
4 Ibid., 2.4.56-7.
5 Ibid., 3.2. 229-30. In the next scene, 3.3.S-9, Jaques also mentions Jove, commenting in an aside on Touchstone's reference ro 'the most capricious poet, honest Ovid': '0 knowledge ill-inhabited, worse than Jove in a thatched house!'
6 All references to The Tale of Gamelyn are from the online etlition of Chaucer's Works, Vol. V, ed. WW Skeat, and from 1he Tale ofGamelyn, eds. Stephen Knight and Thomas H. Ohlgren, available ortline from Robbins Library Digital Projects, University of Rochester, originally published in Robin Hood and Other Outlaw Tales (Kalarnawo, Michigan: Medieval Institute Publications, 1997).
7 All references ro Rosalynde by Thomas Lodge, first printed 1590, this 2nd edition ed. WW Greg, (London: Humphrey Milford, O.U.P. 1931) 1st ed. 1907. There's a 1592 copy of Rosalynde in the British Library and two in the Bodleian Library, Oxford.
8 Ibid., pp. 7-8.
9 Ibid., pp. 13, 16-17.
10 Ibid., p. 19.
11 Ibid., p. 21.
12 Ibid., pp. 21-2.
13 Ibid., pp. 25-6.
14 Ibid., pp. 26-7.
15 Ibid., p. 4S.
16 Ibid., pp. 66-73.
17 Ibid., pp. 77-S5.
18 Ibid., pp. 85-92.
19 AYLI, 4.1.40-4.
20 Ibid., 5.4.26-7.
ACT TWO SCENE ONE
1 Appreciations by Walter Pater, first published 1889, this ed. (London: Macmillan, 1924), p. 169.
2 Ibid., p. 170.
3 Love’s Labour’s Lost, 2.1.114-17.
4 Ibid., 2.1.117-120.
5 Ibid., 5.2.380-4.
6 Ibid., 4.3.318-19,324-7.
7 Ibid., 4.3.11-12.
8 Ibid., 3.1.184.
9 Ibid., 5.2.59-60.
10 Ibid., 5.2.260-61.
11 Ibid., 5.2.396-9, 412-13.
12 Ibid., 5.2.835-42.
13 Ibid., 5.2.862-6.
14 Ibid., 5.2.919.
15 Romeo and Juliet, 1.1.215-22.
16 Ibid., 2.1.17-20.
17 Two Gentlemen of Verona, 2.4.189-92.
18 Remarks by Simon Godwin, director of the RSC’s 2014 production of Two Gentlemen of Verona, from his interview with Carol Chillington Rutter on the RSC App to accompany the play.
19 Two Gents, 2.7.49–56.
20 Ibid., 2.7.75-8.
21 Ibid., 4.4.88, 95-8.
22 Ibid., 4.4.130-5.
23 Ibid., 4.4.156-162,171-7.
24 Simon Godwin, director of the RSC’s 2014 production of Two Gentlemen of Verona, from his interview with Carol Chillington Rutter on the RSC App to accompany the play.
25 Two Gents, 4.4.182-4.
26 Holman Hunt, Valentine rescuing Silvia from Proteus, 1850-51, oil on canvas, Birmingham Museums and Art Gallery, Catalogue entry 71 in William Holman Hunt: A Catalogue Raisonne by Judith Bronkhurst (London and New Haven: Yale University Press for the Paul Mellon Centre, 2006).
27 Simon Godwin, director of the RSC production of Two Gentlemen of Verona 2014/15.
28 The Merchant of Venice, 3.2.149-174.
29 Helena Normanton was the first woman to practise at the English Bar. Eventually, in 1948, she became the first woman to prosecute in a murder trial, and together with Rose Heilbron, was the first of two women appointed King’s Counsel in 1949. From biographies of Ivy Williams and Helena Normanton posted by Kitty Piper, 27 June 2014 and 15 October 2014 on the First 100 Years website, launched by Obelisk with the Law Society. Piper adds, ‘as one scholar puts it, Normanton should be to women lawyers what Neil Armstrong is to astronauts.’
30 Merchant, 4.1.193-8.
31 Ibid., 4.1.253-8.
32 Ibid., 4.1.278-83.
33 Ibid., 4.1.302-308.
34 Ibid., 4.1.318, 320-328.
35 Ibid., 4.1.342-352.
36 Herbert Farjeon, The Shakespearean Scene: Dramatic Criticisms (London: Hutchinson, 1949), pp. 50-1.
37 John Peter’s review in The Sunday Times, 4 June 1989.
ACT TWO SCENE TWO
Younger Sisters
1 Liverpool Echo, 13 June 2014, article on Jodie McNee by Catherine Jones.
2 Twelfth Night, 2.2.26-31.
3 Ibid., 2.4.23-28.
4 Ibid., 2.4.38-9.
5 Peter Hall, from his Foreword to Twelfth Night, (London: The Folio Society, I960.)
6 Twelfth Night, 2.4.111-119.
7 William Hazlitt, Characters of Shakespear’s Plays, 1817, 1818, this ed. (London: J.M. Dent & Sons Ltd., 1906), p. 199.
8 Twelfth Night, 1.4.31-4.
9 W.H. Auden, The Dyers Hand and other essays, (London: Faber and Faber, 1963), p. 521.
10 Twelfth Night, 2.4.94-6..
11 AYLI, 3.5.42-4,73-5.
12 Twelfth Night, 2.2.24-5, 32-8.
13 Ibid., 3.1.159-162.
14 William Hazlitt, Characters of Shakespear’s Plays, 1817, 1818, this ed. (London: J.M. Dent & Sons Ltd., 1906), p. 3.
15 G.B. Shaw’s Cymbeline Refinished, 1936, is a re-working of Cymbeline Act V, available on Project Gutenberg Australia.
16 Cymbeline, 2.2.14-16.
17 Ibid., 2.2.37-42.
18 Ibid., 2.4.171-5.
19 Ibid., 3.4.41-5.
20 AYLI, 1.3.58,60.
21 Cymbeline, 3.4.168-9.
22 Ibid., 3.6.1-4.
23 Ibid., 3.6.14-17.
24 William Hazlitt, Characters of Shakespear’s Plays, 1817, 1818, this ed. (London: J.M. Dent & Sons Ltd., 1906), p. 6.
25 Cymbeline, 4.2.258-63.
26 From Sir Ian McKellen’s website homepage: Acting Shakespeare 1947-86.
27 Cymbeline, 5.5.261-4.
28 Harriet Walter on Imogen from Players of Shakespeare 3, eds. Russell Jackson and Robert Smallwood, (Cambridge: Cambridge University Press, 1993).
29 Much Ado About Nothing, 4.1.302, 305, 316.
30 Ibid., 2.1.16-17.
31 Ibid., 2.1.48-52.
32 Ibid., 1.1.225-28.
33 Ibid., 1.1.96-7.
34 Ibid., 2.1.230-31.
35 Ibid., 2.3.18-21.
36 Ibid., 2.3.212, 214-16, 239, 248-9.
37 Ibid., 3.1.107-111.
38 Ibid., 5.2. 35-6, 39-40.
39 Ibid., 4.1.266, 282-8.
40 Meera Syal in the programme for the RSC production of Much Ado, 2012.
41 Much Ado, 4.1.311, 316, 321-3.
42 Ibid., 4.2.327-9.
43 Ibid., 5.2.33-4.
44 Ibid., 5.4.74.
45 Ibid., 5.4.77.
46 The Way of the World by William Congreve, 1700, this ed. New Mermaids, ed. Brian Gibbons (London: Ernest Benn, 1971) IVi.165-171; IV.i.278-9; V.i.536-540.
47 Ian Shuttleworth, Financial Times, 17 October 2014.
48 Susannah Clapp, The Observer, 24 May 2015.
ACT THREE
Call Me Ganymede – Rosalind Crosses the Border
1 AYLI, 1.3.111-122.
2 I am grateful to Professor Russ McDonald for pointing this out. See The Bedford Shakespeare ed. Russ McDonald and Lena Cowen Orlin (Boston, New York: Bedford/St. Martin’s, 2015), p. 409.
3 Herbert Farjeon, The Shakespearean Scene: Dramatic Criticisms (London: Hutchinson, 1949), p. 190. Elizabeth is supposed to have said this to William Lambarde on the occasion of the rebellion by the Earl of Essex in 1601, and see TLS review of Richard II at Shakespeare’s Globe by Lucy Munro, 31 July 2015, p. 17.
4 AYLI, 1.3.56-60.
5 Rebecca Hall on Rosalind in Shakespeare on Stage ed. Julian Curry (London: Nick Hern Books, 2010).
6 AYLI, 1.3.74-9.
7 Interview with Sally Scott, 10 October 2014.
8 AYLI, 1.3.108-111.
9 Deuteronomy, 22.5. in the Authorised Version of the Bible, 1611. The Geneva Bible version which Shakespeare may have known is slightly different: ‘The woman shalt not wear that which pertaineth unto a man, neither shall a man put on a woman’s raiment, for all that do so, are abomination unto the LORD thy God.’
10 John Rainolds in Th’Overthrow of Stage Playes, published by the puritan press of Richard Schilders, Middelburg, the Netherlands, 1599. I have modernised the spelling in the quotation.
11 During the visit of Elizabeth I to Oxford, at Christ Church, in a play by Richard Edwards. ODNB article on John Rainolds by Mordechai Feingold.
12 Jeanette Winterson, The Passion (London: Bloomsbury, 1987), this ed. Penguin 1988, p. 72.
13 Title page of Lyly’s Galathea as printed 1592.
14 John Lyly, Galatea, ed. Leah Scragg (Manchester: Manchester University Press, 2012), 1.2.95-8.
15 Ibid. 2.1.1-5.
16 Ibid. 2.5.1-4.
17 Female wrestling entered the Olympics in 2004 but is scheduled to disappear again from 2020.
18 AYLI, 2.4.90-92.
19 Ovid, Ars Amatoria, The Art of Love, Book 1, II, 89-92.
20 Michael Billington, The Modern Actor (London: Hamish Hamilton, 1973), pp. 219-222.
21 Interview with Janet Suzman, London, 1 October 2014.
22 AYLI, 3.2.85-8.
23 Ibid., 3.2.98-109.
24 Ibid., 3.2.132-4.
25 Ibid., 3.2.191-7.
26 Ibid., 3.2.212-17.
27 Russ McDonald, The Bedford Companion to Shakespeare: An Introduction with Documents 2nd ed. (Boston and New York: Bedford/St. Martin’s, 2001), p. 299.
28 Hero and Leander from The Works of Christopher Marlowe ed. C.F. Tucker Brooke, (Oxford: Oxford University Press, 1966), 83-84, 147-48.
29 The Tragedy ofDido, Queen of Carthage, 1.1.1 – 2, 28, 42-5, as edition above.
30 For lists of boy actors about the right age to have played Rosalind in 1599, e.g. Alexander Cooke, Samuel Gilburne or even Nathan Field, see E.K. Chambers, The Elizabethan Stage, 4 vols, first published 1923, this ed. (Oxford: The Clarendon Press, 1951), II, pp. 316-7, and David Kathman, ‘How old were Shakespeare’s Boy Actors?’ in Peter Holland, ed., Shakespeare survey: an annual survey of Shakespearian study & production (Cambridge: Cambridge University Press, 2005), vol. 58, pp. 220-246.
31 The Taming of the Shrew, Induction. 1. 130-31.
32 William Prynne, Histriomastrix: The Player’s Scourge, or Actor’s Tragedy, c. 1631-3, pp. 211-12, quoted by Stephen Orgel, Impersonations: The Performance of gender in Shakespeare's England (Cambridge: Cambridge University Press, 1996), p. 30.
33 Interview with Juliet Rylance, 11 August 2010.
34 For a theoretical discussion of gender as performance see Judith Butler, Gender Trouble: Feminism and the Subversion of Identity (Routledge: New York and London, 1990). ‘In what senses, then, is gender an act? As in other ritual social dramas, the action of gender requires a performance that is repeated...Genders can be neither true nor false, neither real nor apparent, neither original nor derived. As credible bearers of those attributes, however, genders can also be rendered thoroughly and radically incredible.’ pp. 140-1.
35 AYLI, 3.2.346-52.
36 Ibid., 2.4.31-40.
37 Ibid., 3.2.359-69.
38 Rebecca Hall on Rosalind in Shakespeare on Stage ed. Julian Curry (London: Nick Hern Books, 2010).
39 AYLI, 3.2.390-400, 403.
40 Hamlet, 2.2.420–24.
41 Over 100 years later in Bach’s day, ‘boys were still trebles at 16 or 17’ says Stephen Cleobury, Choirmaster of Kings College, Cambridge, Observer, 21 December 2014.
42 Portrait miniature of A Young Man Leaning Against a Tree Amongst Roses by Nicholas Hilliard, c. 1585-95, Victoria and Albert Museum. No: Pl63-1910.
43 At the Donmar Warehouse London in 2013 and 2014, and in New York off-Broadway in 2015.
44 AYLI, 3.5.46-61.
45 Interview with Janet Suzman, 1 October 2014.
46 Brian Sewell, Outsider: always almost: never quite – An Autobiography (London: Quartet, 2011), p. 14.
47 Rebecca Hall on Rosalind in Shakespeare on Stage ed. Julian Curry (London: Nick Hern Books, 2010)
48 Sunday Telegraph 8 October 1967, quoted in As You Like It from 1600 to the Present: Critical Essays, ed. Edward Tomarken (Routledge, London and New York, 1997), p. 47.
49 Interview with Ronald Pickup, 16 October 2015.
50 ‘A princess and a saucy lackey’ by Matt Trueman, the Guardian, 13 July 2015. Ronald Pickup and Michelle Terry who played Rosalind 40 years apart, explain how they approached the role.
51 Jonathan Bate and Russell Jackson (eds), Shakespeare: An Illustrated Stage History (Oxford: Oxford University Press, 1996), p. 6.
52 Interview by e-mail with Adrian Lester, 9 September 2015.
53 Michael Billington, Guardian Weekly, 23 June 1973, quoted by Penny Gay, As She Likes It: Shakespeare’s Unruly Women (London and New York: Roudedge, 1994), p. 67.
54 Gregory Doran on Shakespeare’s Comedies interviewed by Bettany Hughes for ‘The Ideas that Make us’ broadcast on BBC Radio 4, 25 August 2014.
55 Shakespeare’s Montaigne: The Florio Translation of the Essays, A Selection eds. Stephen Greenblatt and Peter G. Platt (New York: The New York Review of Books, 2014), ‘Upon some verses of Virgil’, p. 278.
56 ‘The Lives of Others’ in Royal Society of Literature Review, Spring 2015, p. 9, Harriet Walter and Hilary Mantel in discussion with Timberlake Wertenbaker.
57 AYLI, 4.1.35-47.
58 Shakespeare’s Sonnet 20.
59 Shakespeare’s Sonnet 116.
60 AYLI, 4.1.84-99.
61 Camille Paglia, Sexual Personae: Art and Decadence from Nefertiti to Emily Dickinson (New Haven: Yale University Press, 1990).
62 John Lyly, Galatea, ed. Leah Scragg (Manchester: Manchester University Press, 2012), 3.2.15-16.
63 AYLI, 4.1.102-131.
64 Marriage service words from the Book of Common Prayer, 1552.
65 AYLI, 4.1.136-39.
66 Discussion between Pippa Nixon (Rosalind), Maria Aberg (Director), Alex Waldmann (Orlando) about the RSC production of AYLI in 2013, published on the RSC website 25 September 2013 and uploaded to YouTube.
67 AYLI, 4.1.139-146.
68 Ibid., 4.1.149-162.
69 Ibid., 4.1.165-186.
70 Ibid., 5.1.47-57.
71 Ibid., 5.2.31-38.
72 Ibid., 5.2.57-66.
73 Ibid., 5.2.69-71.
74 Ibid., 5.2.79-104.
75 Ibid., 5.2.106-116.
76 Ibid., 5.4.68-81, 95-101.
77 Ibid., 5.4.114-122.
78 Jan Kott, The Gender of Rosalind [reprinted from New Theatre Quarterly] (Evanston, Illinois: Northwestern University Press, 1992).
79 Lithographic portrait inscribed in the block: Ellen Tree October 21, 1836. Published 1838. Information from Paul Meredith, House Manager at Smallhythe Place, Kent, National Trust.
80 ODNB article on Ellen Tree by M. Glen Wilson.
81 Shakespeare in America ed. James Shapiro (The Library of America, 2014), pp. 56-7.
82 John Coleman, Fifty Years of an Actors Life 2 vols. (London: Hutchinson, 1904), I, p. 306.
83 Ibid., II, p. 363.
84 Ibid., I, p. 306.
INTERVAL
Gloriana
1 Elizabeth I, Collected Works, eds. Leah S. Marcus, Janel Mueller, and Mary Beth Rose (Chicago and London: The University of Chicago Press, 2000), p. 97, Queen Elizabeth’s speech to a joint delegation of Lords and Commons, November 5, 1566.
2 J.E. Neale, Queen Elizabeth (London: Cape, 1934), p. 215.
3 The Pelican Portrait by Nicholas Hilliard or his workshop, c. 1575, Walker Art Gallery, Liverpool.
4 The Phoenix Portrait by Nicholas Hilliard or his workshop, c. 1575, National Portrait Gallery, London.
5 Judi Dench played Titania in 2010 at the Rose Theatre, Kingston, dressed as Elizabeth I.
6 Queen Elizabeth I (‘The Ditchley portrait’) by Marcus Gheeraerts the Younger, c. 1592, National Portrait Gallery London, 2561.
7 Queen Elizabeth I by Nicholas Hilliard, 1572, National Portrait Gallery London, 108.
8 Elizabeth Jenkins, Elizabeth and Leicester (London: Victor Gollancz, 1961), p. 137.
9 The Holinshed Texts (1587, vol. 6, p. 1158) The Holinshed Project, Oxford University, available online.
10 Elizabeth I, Collected Works, p. 170, Queen Elizabeth’s speech at the close of the Parliamentary Session, March 15, 1576.
11 Ibid., p. 188, Queen Elizabeth’s first reply to the Parliamentary Petitions urging the execution of Mary, Queen of Scots, November 12, 1586.
12 Ibid., p. 193, Queen Elizabeth’s first reply to the Parliamentary Petitions urging the execution of Mary, Queen of Scots, November 12, 1586.
13 Ibid., p. 182, Queen Elizabeth’s speech at the closing of Parliament, March 29, 1585.
14 Elizabeth Jenkins, Elizabeth and Leicester (London: Victor Gollancz, 1961), p. 153.
15 John Foxe, Acts and Monuments, vol. viii, p. 601, available online.
16 Elizabeth I: Collected Works, p. 326, Queen Elizabeth’s Armada speech to the troops at Tilbury, August 9, 1588.
17 First published posthumously 1570.
18 Jenkins, Elizabeth, Elizabeth and Leicester (London: Victor Gollancz, 1961), p. 48.
19 Henry Harington, ed., Nugœ Antiquœ, 2 vol. (1769-75), 2, 216, quoted in ‘Harington’s Gossip’ by Jason Scott-Warren in The Myth of Elizabeth, eds. Susan Doran and Thomas S. Freeman (Basingstoke: Palgrave Macmillan, 2003), p. 222.
20 AYLI, 4.1.24-6.
21 Interview with Juliet Stevenson, 26 March 2015.
22 Marc Norman and Tom Stoppard, Shakespeare in Love (London: Faber and Faber, 1999), p. 148.
23 AYLI, 1.3.114-117.
24 William Camden, Annals of Elizabeth, first printed in Latin 1615, first English edition 1627.
25 Elizabeth Jenkins, Elizabeth and Leicester (London: Victor Gollancz, 1961), p. 355.
26 Elizabeth I: Collected Works, pp. 325-6, Queen Elizabeth’s Armada speech to the troops at Tilbury, August 9, 1588.
27 Henry V, 4.3.40-51.
28 Elizabeth I: Collected Works, p. 326, Queen Elizabeth’s Armada speech to the troops at Tilbury, August 9, 1588.
29 Elizabeth Jenkins, Elizabeth and Leicester (London: Victor Gollancz, 1961), p. 48.
30 Elizabeth I: Collected Works, p. 342, Elizabeth’s Golden speech to her last parliament, November 30, 1601.
31 Ben Jonson, ‘Conversations with Drummond’, 470, in The Complete Poems, ed. George Parfitt, rev. ed., (Harmondsworth: Penguin, 1988), pp. 459-80, and J.E. Neale, Queen Elizabeth (London: Cape, 1934), p. 393.
32 Modern audiences heard Ellen Terry’s lectures, reincarnated by Eileen Atkins, first at Chichester, and then at the Sam Wanamaker Theatre in 2014/16.
33 Terry, Ellen, Four Lectures on Shakespeare (London: Martin Hopkinson Ltd., 1932), p. 81.
34 Ibid.
35 From the title page of Love’s Labour’s Lost printed in 1598.
36 Elizabeth I: Collected Works, p. 59, Queen Elizabeth’s first speech before Parliament, February 10, 1559.
37 Ibid., p. 58.
38 A Midsummer Night’s Dream, II, i, 155-164.
39 Elizabeth I: Collected Works, p. 72, Queen Elizabeth’s answer to the Commons’ Petition that she marry, January 28, 1563 (preferring the slightly alternative version.)
40 Elizabeth Jenkins, Elizabeth and Leicester (London: Victor Gollancz, 1961), p, 122.
41 Ibid., p. 90.
42 Ibid., p. 198.
43 Ibid., p. 141.
44 ‘The ashes and the phoenix’ by Mark Bostridge, TLS, 8 January 2010, p. 13.
45 Susan Doran, Elizabeth I and her Circle (Oxford: Oxford University Press, 2015), p. 21.
46 Henry Harington, ed., Nugœ Antiquœ, 2 vols (1769-75), 2, 216, quoted in ‘Harington’s Gossip’ by Jason Scott-Warren in The Myth of Elizabeth, eds. Susan Doran and Thomas S. Freeman (Basingstoke: Palgrave Macmillan, 2003), p. 222.
47 Elizabeth Jenkins, Elizabeth and Leicester (London: Victor Gollancz, 1961), p. 370.
48 ‘Popular Perceptions of Elizabeth’ by Sara Mendelson in Elizabeth I: Always Her Own Free Woman, eds. Carole Levin, Jo Eldridge Carney and Debra Barrett-Graves (Aldershot: Ashgate, 2003), chapter 11, p. 193.
49 Elizabeth I: Collected Works, pp. 337, 340, Elizabeth’s Golden Speech, November 30, 1601.
50 Ibid., p. 189, Queen Elizabeth’s first reply to the Parliamentary Petitions urging the execution of Mary, Queen of Scots, November 12, 1586.
51 The Robben Island Shakespeare was displayed at the British Museum during the exhibition Shakespeare: Staging the World in 2012. The South African Collected Works of Shakespeare was sent by his wife Theresa to Sonny Venkatrathnam when he was imprisoned. Now known as the Robben Island Shakespeare, he called it ‘the Bible by Shakespeare’, disguised it as a Hindu holy book and passed it round the political prisoners, including Nelson Mandela. They underlined and dated specific quotations that spoke specially to each individual. Duke Senior’s speech from As You Like It is signed and dated: Mobbs Gqirana 27/3/75.
52 AYLI, 2.1.20,12-17.
53 Elizabeth I: Collected Works, pp. 337-9. Several versions of the Golden Speech survive. This one is from the Commons journal of Hayward Townshend, who was one of the 141 men present on 30 November 1601.
54 Ian Donaldson, Ben Jonson: A Life (Oxford: Oxford University Press, 2011), p. 466, n. 20, suggests AYLI may have been performed at court early in 1599, based on discussion in Appendix 3 of AYLI, The Arden Shakespeare, ed. Juliet Dusinberre, 2006. See also ‘Pancakes and a Date for “As You Like It’” by Juliet Dusinberre, Shakespeare Quarterly, Vol. 54, No. 4 (Winter, 2003), pp. 371-405. Folger Shakespeare Library in association with George Washington University.
55 King Henry VIII, 5.4.17-19, 30-1, 33-7, 56-7, 60-2.
56 AYLI, 4.1.120-29.
57 From a poem by George Peele, 1595, quoted by Frances A. Yates, Astraea (London: Pimlico, 1993) p. 62. First published (London: Routledge & Kegan Paul, 1975).
58 Elizabeth’s response to Philip of Spain’s religious persecution in the Netherlands, 1586, via the Spanish Ambassador, 1586, Elizabeth Jenkins, Elizabeth and Leicester (London: Victor Gollancz, 1961) p. 311.
59 Sayings of Queen Elizabeth ed. Frederick Chamberlin (London: John Lane The Bodley Head; New York: Dodd, Mead and Company, 1923), p. 4. Letter to Edward VI, c. 1550.
60 AYLI, 2.7.121-27.
61 Elizabeth Jenkins, Elizabeth and Leicester (London: Victor Gollancz, 1961), p. 48.
62 Probably composed c. 1570.
63 Antony and Cleopatra, 3.7.16-18.
64 Rosa Electa (The Chosen Rose) by William Rogers probably after Isaac Oliver, c. 1590-95, Roy Strong, Gloriana: The Portraits of Queen Elizabeth I (London: Thames and Hudson, 1987), p. 145.
ACT FOUR
Like the Bay of Portugal – Rosalind's Love Life
1 Camille Paglia, Sexual Personae: Art and Decadence from Nefertiti to Emily Dickinson (New Haven: Yale University Press, 1990), Chapter 7, ‘Shakespeare and Dionysus: As You Like It and Antony and Cleopatra’.
2 James Shapiro, 1599: A Year in the Life of William Shakespeare (London: Faber and Faber, 2005).
3 AYLI, 3.5.82-3.
4 Pippa Nixon in discussion on RSC website 25 September 2013 and uploaded to You Tube.
5 Romeo and Juliet, 1.4.25-6.
6 Ibid., 1.5.43-6,51-2.
7 Ibid. 2.2.142-8.
8 Interview with Juliet Rylance at the Old Vic, 11 August 2010.
9 AYLI, 2.4.43-52.
10 Anna Jameson, Shakespeare’s Heroines first published 1832, this ed. (London: George Bell & Sons, 1898), p. 10.
11 Rebecca West, The Court and the Castle (London: Macmillan, 1958), p. 135, originally delivered as the Terry Lectures at Yale University.
12 Anthony Trollope, The Duke’s Children in a newly restored version from the original manuscript (London: The Folio Society, 2015).
13 Anthony Trollope, The Duke’s Children, first published 1880, Chapter 5.
14 Interview with Jean Hewison, 11 January 2015.
15 Carole Woddis ed., Sheer Bloody Magic: Conversations with Actresses (London: Virago, 1991), p. 99.
16 Walter Pater, Appreciations, first published 1889, this ed. (London: Macmillan, 1924), p. 170.
17 Open University video 1995 to accompany A 210 ‘Approaching Literature’.
18 Harold Bloom, Shakespeare: the invention of the human (London: Fourth Estate, 1999), p. 204.
19 AYLI, 4.1.195-6.
20 Ibid., 3.2.191-2.
21 Carole Woddis ed., Sheer Bloody Magic: Conversations with Actresses (London: Virago, 1991), p. 136.
22 Interview with Juliet Rylance at the Old Vic, 11 August 2010.
23 AYLI, 2.7.136-9.
24 Ian Donaldson, Ben Jonson: A Life (Oxford: Oxford University Press, 2011), p. 155.
25 ‘Shine here to us, and thou art everywhere;/ This bed thy centre is, these walls, thy sphere.’ From Donne’s poem ‘The Sunne Rising’.
26 AYLI, 3.2.384-8.
27 Rebecca Hall on Rosalind in Shakespeare on Stage ed. Julian Curry (London: Nick Hern Books, 2010), pp. 72-3.
28 W.H. Auden, Lectures on Shakespeare, ed. Arthur Kirsch (Princeton: Princeton University Press, 2000), pp. 138 and 144.
29 ‘Shakespeare’s Women’ presented by Joely Richardson, BBC 4, 19 June 2012.
30 Bernard Levin’s review of AYLI in Royal Shakespeare Theatre Company in Straford-on-Avon and London 1960-63 ed. John Goodwin (London: Max Reinhardt, 1964)
31 AYLI, 3.4.19-29.
32 Ibid., 1.1.109-113.
33 Ibid., 1.3. 85-6.
34 Ibid., 1.3.130-34.
35 Ibid., 2.4.93-4.
36 From the dedication to Browning’s last published work, Asolando, 1889. Robert Browning, The Poems ed. John Pettigrew, 2 vol. (Harmondsworth: Penguin, 1981), 2, p. 874.
37 AYLI,27.22-8.
38 Ibid., 2.7.140-44.
39 Ibid., 3.2.291-322.
40 Unsigned reviews in the Sunday Pictorial (15 Nov. 1936), and in The Times (12 Feb. 1937) from the Casebook Series Much Ado about Nothing and As You Like It ed. John Russell Brown (London and Basingstoke: Macmillan, 1979), pp. 234-5.
41 AYLI, 3.2.404-6.
42 Ibid., 4.1.57-84.
43 The Merchant of Venice, 3.2.70-1.
44 AYLI, 4.1.128-139.
45 Interview with Juliet Stevenson, 26 March 2015.
46 Interview with Adrian Lester by e-mail, 9 September 2015.
47 AYLI, 2.5.1-5, 33-9.
48 Ibid., 2.7.175-191.
49 Ibid., 5.3.16-37.
50 ODNB article on Thomas Morley by Michael W Foster.
51 David Lindley, Shakespeare and Music (London: Arden Shakespeare, 2006), p. 198.
52 AYLI, 5.4.18-25.
53 Thomas Lodge, Rosalynde, first published 1590, this edition ed. W.W Greg, (London: Humphrey Milford, O.U.P, 1931), p. 158.
54 AYLI, 5.4.116-124.
55 George Bernard Shaw, The Saturday Review, 5 December 1896 in Shaw on Shakespeare ed. Edwin Wilson (London: Cassell, 1961), p. 27.
56 Interview with Michelle Terry at Shakespeare’s Globe, 19 June 2015.
57 AYLI, 5.4.139-144.
ACT FIVE SCENE ONE
Celia – Juno’s Swan
1 AYLI, 1.2.265.
2 Juliet Stevenson discussing playing Rosalind on Front Row, BBC Radio 4, 25 May 2015.
3 Juliet Stevenson in Clamorous Voices ed. Carol Rutter (London: Tire Women’s Press, 1988) p. 97.
4 Though Shakespeare’s lads, like his girls, sometimes enjoy perfect teenage amity. Before their friendship is shattered by sexual jealousy, Polixenes and Leontes look back on a golden youth spent together.
We were as twinned lambs that did frisk i’ th’ sun,
And bleat the one at th’ other. What we changed
Was innocence for innocence; we knew not
The doctrine of ill-doing, nor dreamed
That any did. The Winters Tale, 1.2.66-70.
5 The George Eliot Letters ed. Gordon S. Haight 9 vol. (London: Oxford University Press, 1954-78), George Eliot to Maria Lewis, 2[8] May 1840, 1, p. 51.
6 AYLI, 1.1.102-107.
7 A Midsummer Night’s Dream, 3.2.203-212.
8 Much Ado, 3.1.49-56.
9 AYLI, 1.2.2-7.
10 Ibid., 1.2.8-14.
11 Fiona Shaw and Adam Phillips in a discussion on ‘Acting, Self-fashioning and the Formation of Identity’ chaired by Lisa Appignanesi at the National Portrait Gallery, London, 21 July 2011.
12 Fiona Shaw quoted by Carol Rutter, Clamorous Voices: Shakespeare’s Women Today (London: The Women’s Press, 1988), p. 101.
13 AYLL, 1.2.17-23.
14 Ibid., 1.2.31-46.
15 Ibid., 1.2.102.
16 Ibid., 1.2.70-72.
17 Ibid., 1.2.165-6, 170-1.
18 Ibid., 1.2.202-3, 205-6.
19 Ibid., 1.2.228-234.
20 Ibid., 1.2.242, 244.
21 Ibid., 1.3.24-32.
22 Ibid., 1.3.68-73.
23 ‘The Silver Swan’ was first published in 1612 in Gibbons’ First Set of Madrigals and Motets of 5 parts. I suggest it could have been circulating before that.
24 AYLI, 1.3.77-9.
25 Ibid., 1.3.82-3.
26 Ibid., 1.3.86-107.
27 Ibid., 1.3.108-111.
28 Ibid., 1.3.111-113.
29 Ibid., 1.3.124-5.
30 Ibid., 1.3.129-135.
31 Interview with Janet Suzman, 1 October 2014.
32 AYLI, 3.2.186-88.
33 Ibid., 3.2.225-28, 234.
34 Ibid., 3.4.1-3.
35 Ibid., 3.4.25-27.
36 Ibid., 3.4.36-41.
37 Ibid., 4.1.189-92.
38 Ibid., 4.3.65-9.
39 Ibid., 5.2.28-31, 38-40.
40 John Forster, The Life of Charles Dickens 3 vol. (London: Chapman and Hall, 1874), 3. Chap. 5, p.109, 'Residence in Paris 1855-56.’
41 Michael Coveney, Maggie Smith: A Biography (London: Weidenfeld & Nicolson, 2015), pp. 55-6.
42 Mary Cowden Clarke, The Girlhood of Shakespeare’s Heroines: a series of fifteen tales, 3 vol. first published 1850-52, this ed. (London: Bickers and Son, 1864), ‘Rosalind and Celia; The Friends’ in vol 2.
ACT FIVE SCENE TWO
Orlando – So Much in the Heart of the World
1 Hamlet, 3.3.37-8, 53-4.
2 AYLI, 1.1.62-70.
3 Ibid., 1.2.178-184.
4 Rebecca Hall on Rosalind, from Shakespeare on Stage ed. Julian Curry (London: Nick Hern Books, 2010).
5 Thomas Lodge, Rosalynde, first published 1590, this edition ed. W.W. Greg (London: Humphrey Milford, O.U.P., 1931, 2nd ed.), p. 24.
6 Interview with Janet Suzman, 1 October 2014.
7 AYLI, 3.4.4-10.
8 Virginia Woolf, Orlando, first published 1928, this ed. (Harmondsworth: Penguin Books, 1963), p. 10.
9 Ibid, p. 16.
10 AYLI, 1.2.204.
11 Ibid., 1.1.156–160.
12 Ibid., 2.3.3-4.
13 Interview with Blanche McIntyre at Shakespeare’s Globe, 26 June 2015.
14 Interview with Janet Suzman, 1 October 2014.
15 AYLI, 1.2.243-4.
16 Ibid., 1.2.246-8.
17 Michael Boyd in conversation with Dominic Cooke in The RSC Shakespeare: As You Like It eds. Jonathan Bate and Eric Rasmussen (Basingstoke: Macmillan, 2010), p. 153.
18 Shaw on Shakespeare, ed. Edwin Wilson (London: Cassell, 1961), p. 32.
19 AYLI, 2.6.5-8, 9-18.
20 Ibid., 2.7.107-120.
21 Illustrated London News, 9 August 1884.
22 Dramatic Review, 6 June 1885.
23 Sarah Bernhardt, untitled article, January 21, 1923. Apparently Bernhardt made this comment after appearing as Hamlet on 20 May 1899. Bernhardt, Sarah. Unmarked clipping, stamped January 21, 1923. Harvard Theatre Collection: ‘Hamlet—Productions— Women as Hamlet (1 of 2).” Cited by Woo, Celestine (2007) ‘Sarah Siddons’s Performances as Hamlet: Breaching the Breeches Part’, European Romantic Review, 18: 5, 573-95, p. 582.
24 Stephen Orgel, ‘Afterword’ in Shakespeare, Memory and Performance, ed. Peter Holland (Cambridge: Cambridge University Press, 2006), pp. 347-8.
25 Michael Boyd in conversation with Dominic Cooke in The RSC Shakespeare: As You Like It eds. Jonathan Bate and Eric Rasmussen (Basingstoke: Macmillan, 2010), p. 153.
26 Interview with Ronald Pickup, 16 October 2015.
27 Alex Waldmann on Orlando for the RSC AYLI 2013, published on RSC website on 25 September 2013 and uploaded to YouTube.
28 AYLI, 3.2.1-10.
29 Hamlet, 2.2.115-18.
30 AYLI, 3.2.138-51.
31 Pippa Nixon on Rosalind for the RSC AYLI 2013, published on RSC website on 25 September 2013 and uploaded to YouTube.
32 AYLI, 3.2.250-60.
33 Interview with Juliet Rylance at the Old Vic, 11 August 2010.
34 Michael Boyd in conversation with Dominic Cooke in The RSC Shakespeare: As You Like It eds. Jonathan Bate and Eric Rasmussen (Basingstoke: Macmillan, 2010), p. 157.
35 Interview with Ronald Pickup, 16 October 2015 and AYLI, 5.2.25-7.
36 Rebecca Hall on Rosalind, Shakespeare on Stage ed. Julian Curry (London: Nick Hern Books, 2010).
37 Laura Hitchcock, Curtain Up, The Internet Theater Magazine, 13 February 2005.
38 Théophile Gautier, Mademoiselle de Maupin, transl, and ed. Helen Constantine, (London: Penguin Books, 2005), pp. 215-16.
39 Vanessa Redgrave, An Autobiography (London: Hutchinson, 1991), p. 93.
40 J.C. Trewin, Birmingham Post, 5 July 1961.
41 J.W. Lambert, Sunday Times, 9 July 1961.
42 Michael Billington, The Modern Actor (London: Hamish Hamilton, 1973), p. 235.
43 Vanessa Redgrave, An Autobiography (London: Hutchinson, 1991), p. 95.
44 Don Chapman, Oxford Mail, 22 May 1968.
45 Interview with Janet Suzman, 1 October 2014.
46 From the Jeremy Brett Archive online.
47 Hilary Spurling, The Spectator, 12 October 1967.
48 John Barber, Daily Telegraph, 9 September 1977.
49 B.A. Young, Financial Times, 8 September 1977.
50 Michael Ratcliffe, Observer, 24 April 1985.
51 Interview with Juliet Rylance at the Old Vic, 11 August 2010.
52 Michael Boyd in conversation with Dominic Cooke in The RSC Shakespeare: As You Like It eds. Jonathan Bate and Eric Rasmussen (Basingstoke: Macmillan, 2010), p. 153-4.
53 ‘The Education of Orlando’ by Marjorie Garber in Comedy from Shakespeare to Sheridan, eds. A.R. Braunmuller and J.C. Bulman (Newark: University of Delaware Press, London and Toronto: Associated University Press, 1986), pp. 102-112.
EPILOGUE
As You Like It
1 Players of Shakespeare 3: Further Essays in Shakespearian performance by players with the Royal Shakespeare Company, eds. Russell Jackson and Robert Smallwood (Cambridge: Cambridge University Press, 1993), Sophie Thompson on ‘Rosalind (and Celia) in As You Like If.’ pp. 77-86, p. 85.
2 Interview with Sally Scott, 10 October 2014.
3 The other occasions may include Falstaff to Prince Hal, ‘Play out the play! I have much to say in the behalf of that Falstaff and Hamlet directing the Player King, ‘Suit the action to the word, the word to the action.’
4 Galatea’s Epilogue from Galatea by John Lyly, 1588, this ed. Leah Scragg (Manchester: Manchester University Press, 2012) p. 115.
5 Juliet Stevenson on ‘Playing Rosalind’, Front Row, BBC Radio 4, 25 May 2015.
6 Feature on Kenneth Branagh’s film of As You Like It in the Saturday Telegraph Magazine, 18 February 2006.
7 Peg Woffington, 1720–1760, lived on for another 3 years but never acted again. This account from Tate Wilkinson, Memoirs, 1790, cited in Gamini Salgado, Eyewitnesses of Shakespeare: First Hand Accounts of Performances 1590-1890 (Sussex University Press, 1975), p.162 and Edward Robins, Twelve Great Actresses (London: GP Putnam’s Sons, 1900), p. 112.
8 All’s Well That Ends Well, 5.3. Epilogue, 1-6.
9 AYLI, 2.7.138.
10 Ibid., 2.7.140-44.
11 The New Oxford Book of Sixteenth Century Verse ed. Emrys Jones (Oxford: Oxford University Press, 1991), p. 390.
12 ‘Who else is there?’ by Harold Bloom, Forward to Shakespeare and Me: 38 Great Writers, Actors, and Directors on What the Bard means to them – and us, ed. Susannah Carson (London: Oneworld, 2014).
13 Twelfth Night, 5.1.388-407.
14 Thomas Dekker and Thomas Middleton, The Roaring Girl c. 1607-10, first printed 1611, this text for the 2014 RSC production, eds. Jo Davies and Pippa Hall, (London: Nick Hern Books, 2014) pp. 122-3.
15 Helena Faucit, Lady Martin, On Some of Shakespeare’s Female Characters (Edinburgh and London: William Blackwood and Sons, 1885), pp. 358-9.
16 Interview with Ronald Pickup, 16 October 2015.
17 Interview with Sally Scott, 10 October 2014.
18 Michael Coveney, Maggie Smith: a bright particular star (London: Gollancz, 1992) p. 181.
19 Interview with Juliet Stevenson, 26 March 2015.
20 Interview by e-mail with Adrian Lester, 9 September 2015.
21 Interview with Juliet Rylance, 11 August 2010.
22 The Tempest, 4.1.148-158.
23 The Tempest, 5.1. Epilogue, 1-20.
24 Pippa Nixon’s introduction to BBC Radio 3’s production of As You Like It, 1 March 2015, in which she played Rosalind.
AFTERLIFE
A Woman For All Time – Rosalind’s Daughters
1 Rosalind as Ganymede doesn’t always have short hair. Katy Stephens played her with a long male ponytail in 2010 for the RSC.
2 Interview with Sally Scott, 10 October 2104.
3 Interview with Blanche McIntyre, 26 June 2015
4 Interview with Juliet Stevenson, 26 March 2015.
5 Dorothea cross-dresses in Cervantes’ Don Quixote in 1605.
6 Or ‘Methinks a woman’s lip tastes well in a doublet’ quoted by Stephen Orgel, Impersonations: The Performance of gender in Shakespeare’s England (Cambridge: Cambridge University Press, 1996), p. 70.
7 Thomas Dekker and Thomas Middleton, The Roaring Girl, 1611, from the Prompt Book version for the RSC production of 2014, eds. Jo Davies and Pippa Hill (London: Nick Hern Books, 2014), Act 2, Scene 2, p. 41; Act 5, Scene 1, p. 109; Act 4, Scene 1, p. 77, pp. 122-3.
8 The Plays of Nathan Field ed. William Peery, (Austin: University of Texas Press, 1950), Act 1, Scene 1, p. 162, spelling updated.
9 Quoted by Michael Caines in ‘By our squabbles’ reviewing Felicity Nussbaum, Rival Queens (Philadelphia, Pa.; Oxford: University of Pennsylvania Press, 2010) in The Times Literary Supplement, 18 February 2011.
10 Anna Jameson, Shakespeare’s Heroines first published 1832, this ed. (London: George Bell & Sons, 1898), on Rosalind pp. 74-80.
11 Jane Austen, Pride and Prejudice first published 1813, this ed. (London: Oxford University Press, 1959), p. 12, p. 57.
12 Charlotte Bronte, Jane Eyre, first published 1847, this edition (London: Vintage, 2007), p. 133.
13 George Sand, Story of my life transl. Dan Hofstadter (London: The Folio Society, 1984), p. 214. First published as Histoire de ma vie, Paris, 1854.
14 Rebecca Mead, The Road to Middlemarch: My Life with George Eliot (London: Granta Books, 2014), p. 178, quoting Blanche Colton Williams, George Eliot: A Biography (New York, Macmillan, 1936).
15 Ibid., pp. 90-1.
16 George Eliot, Daniel Deronda, first published 1876, this ed. (Harmondsworth: Penguin, 1995), p. 7.
17 Ibid. p. 9.
18 Ibid. pp. 150-1.
19 Cush Jumbo in ‘All Dolled Up’ by Susanna Rustin, The Guardian, 10 August 2013.
20 ‘Pensees de Femme’, Lady’s Pictorial, 11 January 1896, p. 53. Many thanks to Dr Valerie Fehlbaum, author of Ella Hepworth Dixon: The Story of a Modern Woman (Aldershot: Ashgate, 2005) for leading me to these quotations.
21 The Idler 6, August 1894, p. 209.
22 Ladys Pictorial, 5 October, 1895, p. 524.
23 Oscar Wilde, The Picture of Dorian Gray first published 1890, this edition (London: World’s Classics, 1994), p. 75.
24 Henry James, ‘The Papers’ first published in The Better Sort, 1903, this edition Henry James: Collected Stories vol 2, (London, Everyman’s Library, 1999), pp. 785-883.
25 Ford Madox Ford, Parades End first published 1924-28, this ed. (London: Penguin, 1988), p. 629.
26 AYLI, 4.1.138-9.
27 Naomi Frederick from www.globe-education.org/Adoptanactor
28 The Letters of Virginia Woolf ed. Nigel Nicolson and Joanne Trautmann, 6 vol. (London: The Hogarth Press, 1975-80) 3, A Change of Perspective, 9 October 1927, p. 429.
29 Tilda Swinton, The Telegraph, 9 January 2012, and from her Introduction to Orlando by Virginia Woolf, (Edinburgh: Canongate, 2012).
30 Time Vol XXIX No 15.
31 Virginia Woolf, A Room of One’s Own first published 1929, this ed. (London: Grafton Books/Collins, 1988) p. 103.
32 Ibid., pp. 101, 105.
33 Ibid., p. 99.
34 Ibid., p. 92.
35 Coleridge: Table Talk, 1 September 1832
36 Virginia Woolf, A Room of Ones Own, 1929, this ed. (London: Grafton Books/Collins, 1988) p. 94.
37 Ibid., p. 98
38 Isaac Bashevis Singer, ‘Yentl the Yeshiva Boy’ transl. Marion Magid and Elizabeth Pollet, Collected Stories: Gimpel the Fool to The Letter Writer ed. Ilan Stavans, (New York: The Library of America, 2004) pp. 439-463. Published in English in Commentary, September 1962, and in Yiddish as ‘Yentl der yeshive-boher in Di goldene keyt 46 (1963). Mayses fun hintern oyvn. Tel Aviv: Farlag Y.L. Perets, 1971. (Stories from Behind the Stove).
39 Jeanette Winterson, The Passion (London: Bloomsbury, 1987) this edition Penguin 1988, p. 54, p. 61.
40 Ibid. p. 150.
41 Ibid. p. 144.
42 Pat Barker, Life Class (London: Hamish Hamilton, 2007) pp. 79, 88, 97, 99.
43 The Tempest, I. ii. 16-17.
44 Alan Cumming in The Observer Magazine, 1 July 2012.
45 Interview with Michelle Terry at Shakespeare’s Globe, 19 June 2015.