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Full Description
Part of the series Shakespeare in the Theatre, this book examines the work of Phyllida Lloyd who has transformed and revolutionized 21st century Shakespeare by her all female productions.
It begins with the Globe Taming of the Shrew in 2003 and then, later, with her Shakespeare Trilogy: her Donmar Theatre productions of Julius Caesar (2012), Henry IV (2014) and The Tempest (2016). While critical response to The Shrew was divided, with some seeing all female approach casting as evocative of 'girls' boarding school' Shakespeare, by the time of Lloyd's 2016 season of Julius Caesar, Henry IV and The Tempest at King's Cross, most critics appeared to be won over or at least accepting.
The book explores the significance of Lloyd's ongoing working relationships with key performers - Janet McTeer, Meryl Streep, Harriet Walter - while acknowledging the importance of Lloyd's success with Mamma Mia! in freeing her to pursue high risk theatrical ventures - such as the all female Shakespeare productions - without needing to worry unduly about what the reviewers thought. Schafer illustrates how Lloyd's ability to hold realism and the non real in creative tension - an ability on display in Mamma Mia! in the all female productions and in her opera productions - is particularly critical when she is working with Shakespeare's (mostly) anti-illusionistic dramaturgy.
Contents
List of Figures
Series Preface
Acknowledgements
Introduction: Phyllida Lloyd, Shakespeare, Diversity and Disturbance
Chapter 1: 1986-1990 - Beginnings
Chapter 2: 1993-1999 - New Stages
Chapter 3: 2002-2011 - Unruly Women
Chapter 4: 2012-2014 - 'Liberty, freedom, and enfranchisement!'
Chapter 5: 2016 - The Donmar Shakespeare Trilogy
Chapter 6: Practical Perspectives
Conclusion: 'O Brave New World'
Notes
References
Index
