Players of Shakespeare 5

This is the fifth volume of essays by actors with the Royal Shakespeare Company and the National Theatre on their interpretations of major Shakespearian roles. The twelve essays discuss fourteen roles in twelve different productions between 1999 and 2002. The productions covered include three plays not featured before in the series: The Comedy of Errors, A Midsummer Night’s Dream and Antony and Cleopatra. The contributors are Philip Voss, Ian Hughes, Aidan McArdle, Zoë Waites, Matilda Ziegler, Alexandra Gilbreath, Antony Sher, David Tennant, Michael Pennington, Simon Russell Beale, Richard McCabe, Frances de la Tour and the late Nigel Hawthorne. The title roles in three of the major tragedies - Hamlet, King Lear and Macbeth - are covered and there is also an essay on Iago in Othello. A brief biographical note is provided for each of the contributors and an introduction places the essays in the context of the Stratford and London stages.

• Provides a glimpse into the working methods of actors with the Royal Shakespeare Company and the National Theatre • Contributors are all well-known actors and the volume includes the late Sir Nigel Hawthorne’s reflections on his last role in the theatre • Excellent photographs of productions, most not published before

Preface; Introduction Robert Smallwood; Prospero in The Tempest Philip Voss; Dromio of Syracuse in The Comedy of Errors Ian Hughes; Puck (and Philostrate) in A Midsummer Night’s Dream Aidan McArdle; Viola and Olivia in Twelfth Night Zoë Waites and Matilda Ziegler; Hermione in The Winter’s Tale Alexandra Gilbreath; Leontes in The Winter’s Tale, and Macbeth Antony Sher; Romeo in Romeo and Juliet David Tennant; Timon of Athens Michael Pennington; Hamlet Simon Russell Beale; King Lear Nigel Hawthorne; Iago in Othello Richard McCabe; Cleopatra in Antony and Cleopatra Frances de la Tour.

‘...these accounts allow a rare opportunity to feel as well as read a character.’ Plays International, June 2004

\'The best efforts in this series are first rate.\' Contemporary Review