Shakespeares cultural capital his economic impact from the sixteenth to the twenty first century (2016)

‘Over the course of the 2016 anniversary celebrations, much will be said about Shakespeare’s value And yet, his very real cash value will remain for the most part the elephant in the room Here at last is a book which owns up to it, and it’s wide-ranging and insightful Properly and refreshingly serious about Shakespeare’s harder contributions to the cultural economy And because of this honest worldliness, sometimes also funny.’ —Professor Ewan Fernie, University of Birmingham, UK ‘This wide-ranging and diverse set of essays demonstrate that, where Shakespeare is concerned, money matters From the financial constraints and opportunities that shaped Shakespeare’s own writing, to the ongoing exploitation of the Shakespeare brand to sell books, beers, dead kings and living actors, this book argues that Shakespeare’s currency is inextricable from the worlds of big business, cultural imperialism, international diplomacy and corporate art On the 400th anniversary of his death, Shakespeare’s Cultural Capital makes a timely and important case for the ongoing value of Shakespeare’s stock.’ —Dr Peter Kirwan, University of Nottingham, UK ‘A fascinating historical and thematic variety of Shakespeare branding, from his place in early modern commercial theatre and publishing, to his power to sell beer, and his importance in the current GREAT Britain government campaign to attract international investment in the UK Its contributors raise awareness of our own responsibility as consumers of Shakespeare, as scholars, playgoers and members of the public.’ —Professor Alison Findlay, Lancaster University, UK Shakespeare’s Cultural Capital His Economic Impact from the Sixteenth to the Twenty-first Century Edited by Dominic Shellard De Montfort University, Leicester and Siobhan Keenan De Montfort University, Leicester Editors Dominic Shellard De Montfort University Leicester, UK ISBN 978-1-137-58315-4 DOI 10.1007/978-1-137-58316-1 Siobhan Keenan De Montfort University Leicester, UK ISBN 978-1-137-58316-1 (eBook) © The Editor(s) (If applicable) and the Author(s) 2016 Softcover reprint of the hardcover 1st edition 2016 978-1-137-58314-7 The author(s) has/have asserted their right(s) to be identified as the author(s) of this work in accordance with the Copyright, Design and Patents Act 1988 This work is subject to copyright All rights are solely and exclusively licensed by the Publisher, whether the whole or part of the material is concerned, specifically the rights of translation, reprinting, reuse of illustrations, recitation, broadcasting, reproduction on microfilms or in any other physical way, and transmission or information storage and retrieval, electronic adaptation, computer software, or by similar or dissimilar methodology now known or hereafter developed The use of general descriptive names, registered names, trademarks, service marks, etc in this publication does not imply, even in the absence of a specific statement, that such names are exempt from the relevant protective laws and regulations and therefore free for general use The publisher, the authors and the editors are safe to assume that the advice and information in this book are believed to be true and accurate at the date of publication Neither the publisher nor the authors or the editors give a warranty, express or implied, with respect to the material contained herein or for any errors or omissions that may have been made Cover illustration: © Susana Guzman / Alamy Stock Photo Printed on acid-free paper This Palgrave Macmillan imprint is published by Springer Nature The registered company is Macmillan Publishers Ltd London Contents List of Figures vi Foreword by Bruno S Frey vii Acknowledgements x Notes on Contributors xi Introduction Siobhan Keenan and Dominic Shellard Shakespeare and the Market in His Own Day Siobhan Keenan 13 Shakespeare and the Impact of Editing Gabriel Egan 32 Marketing Shakespeare Films: From Tragedy to Biopic Deborah Cartmell 57 Shakespearean Actors, Memes, Social Media and the Circulation of Shakespearean ‘Value’ Anna Blackwell Ales, Beers, Shakespeares Graham Holderness and Bryan Loughrey A King Rediscovered: The Economic Impact of Richard III and Richard III on the City of Leicester Dominic Shellard 77 99 126 Shakespeare Is ‘GREAT’ Conrad Bird, Jason Eliadis and Harvey Scriven 148 Sponsoring Shakespeare Susan Bennett 163 Index 180 v List of Figures 4.1 Images of Douglas Fairbanks, Mary Pickford and William Shakespeare from The Taming of the Shrew Pressbook, 1929 60 4.2 From The Taming of the Shrew Pressbook, 1929 62 4.3 From As You Like It Pressbook, 1937 63 4.4 Screenshot from Shakespeare in Love, directed by John Madden 69 5.1 The first example of the ‘accidentally groping’ meme 84 5.2 Twitter screen capture from Tom Hiddleston’s account 6.1 Flowers Beer mat 108 6.2 ‘Shakespeare’s County’ label 114 6.3 ‘Shakes-beerd’ label 115 6.4 ‘Shakesbeer’ Shakespeare ‘Portraits’ 117 6.5 ‘Quill 1’ label 118 6.6 ‘Quill 2’ label 121 8.1 What makes the UK attractive to international audiences? 151 8.2 Who is the most associated with contemporary UK arts and culture? 153 8.3 An example of VisitBritain’s marketing collateral, 2015 154 vi 85 Foreword Culture and the market are often seen to be fundamental enemies It has often been argued that culture can only flourish outside the market, and that works produced within the market necessarily are of low quality, or even that the outcome cannot be counted as art This book therefore deals with a most relevant and topical issue It is important to demonstrate that culture and the market can go well together, and in many cases reinforce each other This does not mean that all cultural activities should be subjected to the market Indeed, economic analysis has identified under which conditions the market fails with respect to culture, and when it works well Shakespeare’s Cultural Capital makes interesting reading for everyone who is interested in knowing how the economic and cultural marketplace has worked and is working in the case of the greatest English author It is fascinating to read how Shakespeare used the market to promote his texts and plays, and the extent to which he was influenced by the market in his writings and presentations of his plays How Shakespeare is exploited today to promote tourism to Leicester due to the body of Richard III, or in connection to the London Olympics, is also noteworthy Finally, many readers will be interested to see that Shakespeare has been used for national political purposes, in particular with regard to the quest for a GREAT Britain When reading the text I was struck that the relationship of great artists to the market is of considerable interest in many different countries This is, for instance, true in the case of Germany, a country in which Goethe and Schiller have always played a huge role Johann Wolfgang von Goethe was indeed quite aware of the conflicting relationship between culture and the market In the ‘Prelude on Stage’ of his masterpiece Faust Part I, he sets a director of a theatre against a dramatist As can be perceived from the following excerpts the two have quite opposing views of how to deal with customers: Director: Say what success our undertaking Will meet with, then, in Germany? I’d rather like the crowd to enjoy it … I’d love to see a joyful crowd, that’s certain, vii viii Foreword Dramatist: Director: Dramatist: When the waves drive them to our place … O, don’t speak to me of that varied crew, The sight of whom makes inspiration fade Veil, from me, the surging multitude, Whose whirling will drives us everyway No, some heavenly silence lead me to, Where for the poet alone pure joy’s at play: Where Love and Friendship too grace our hearts … What dazzles is a Momentary act: What’s true is left for posterity, intact … Make sure, above all, plenty’s happening there! They come to look, and then they want to stare … Each one, himself, will choose the bit he needs: Who brings a lot, brings something that will pass: And everyone goes home contentedly You’ll give a piece, why then give it them in pieces! With such a stew you’re destined for success … You don’t see how badly such work will do! How little it suits the genuine creator!1 The text reveals how Goethe saw the tension between the goals of theatre directors who are acutely aware that they must attract a sufficient number of customers in order to survive in their business, and the artists who fear to have to produce for the masses, losing their originality Goethe and Schiller, among many other German artists, were heavily engaged in the economic, political and cultural marketplace Especially in the Romantic period they were used as symbols of German thinking and culture, and to promote unification But it comes immediately to mind that the same has occurred for artists in other countries: Tolstoy in Russia, Molière in France or Cervantes in Spain would be comparable The tension between culture and the marketplace is not restricted to writers but also applies to composers such as Sibelius in Finland, Grieg in Norway or Smetana in the Czech Republic Once a sufficient number of studies corresponding to Shakespeare and the market have been undertaken, it is possible to compare the fate of different artists and to gain insights into the exact conditions Foreword ix under which there is indeed a conflict between culture and the market, as Goethe suggests in the ‘Prelude’ to Faust and in which they go well together, perhaps even reinforcing each other Shakespeare’s Cultural Capital opens a welcome new area of research in cultural economics It is to be hoped that similar works are written for artists in various cultural fields and in various countries This would greatly enhance our knowledge about how artists feel about, and cope with, the market, and how the market copes with culture Bruno S Frey University of Basel, Switzerland Note Johann Wolfgang von Goethe (2003) ‘Prelude on Stage’, Faust Part I in Faust Parts I & II, translated by A S Kline, www.http://www.poetryintranslation com, date accessed 27 October 2015, lines 35–7, 49–50, 59–65, 73–4, 89–90, 96–100, 104–5 Sponsoring Shakespeare 173 the programme the company sponsors for young theatregoers.41 And, notwithstanding the efforts of Reclaim Shakespeare to challenge the appearance of the BP logo at World Shakespeare Festival events, a study by sports and entertainment market specialists Havas (reported in the UK’s Marketing Magazine) indicated that 82% of those polled – a sample of more than 3,000 adults – recognised BP as one of the London 2012 sponsors and 38% believed that ‘BP had been getting better at working towards a cleaner planet’.42 These results suggest that Shakespeare does an excellent job in accomplishing the ‘greenwash’ that Reclaim Shakespeare and other critics identified as the sponsor’s goal Importantly, the debate has continued since 2012 thanks to the work by Reclaim Shakespeare and allied groups intervening at many different cultural institutions and shows including the British Museum Viking exhibition (2014) and Indigenous Australia exhibition (2015) at Tate Britain, at the summer ‘live film’ performances from the Royal Opera House seen in Trafalgar Square, and at the National Portrait Gallery Moreover, at the same time as Reclaim Shakespeare’s first intervention (April 2012), a coalition known as ‘Request Initiative’ filed a Freedom of Information application to uncover how much money BP donated annually to London’s Tate Britain This was resolved and disclosed only in January 2015, revealing a total of £3.8 million over 17 years and in amounts that generally varied from £150,000–£330,000 per year As Mark Brown’s story in the Guardian recorded, the Tate considers this a ‘considerable sum’ while protesters suggest the amount is ‘embarrassingly small’.43 BP contributions to the Tate are estimated as representing no more than 0.5% of the gallery’s annual operating budget – a bargain, for sure, in comparison to the billions it must ‘donate’ to Deepwater Horizon claims Moreover, as Mel Evans has noted, BP’s sponsorship money for the Tate is part of an agreement that includes other cultural institutions – the National Portrait Gallery, the British Museum and the Royal Opera House – with each at the same level of funding She suggests that such a modest level is ‘replaceable’, but the ‘choice of exhibits to sponsor displays the association the companies want to buy … rather than fulfilling any marginal funding need for the cultural institutions’.44 Yet Neil MacGregor wrote in his foreword to the ‘Shakespeare: Staging the World’ catalogue (immediately following the one by BP Group Chief Executive Dudley): ‘This BP exhibition is part of an ongoing partnership with the British Museum We are most grateful to them for making possible this enthralling glimpse into Shakespeare’s imagined worlds’.45 But how, exactly, did BP make this signal event possible? With BP’s financial commitment to the British 174 Susan Bennett Museum no more than £500,000 annually (committed each year over five years, 2011–2015) and the Museum’s overall budget each year currently running at about £144 million, BP’s contribution is less than 1% of total operating costs The Royal Shakespeare Company reported for 2014–15 income of £63.9 million, 25% of which came from Arts Council England Only £3.6 million came from corporate sponsorships and donations from private individuals, trusts and foundations.46 As a point of comparison, Evans reminds her readers that in 2004 BP ‘spent over £136 million developing and rebuilding the brand of its new logo, the “helios”’.47 And, of course, BP is far from the only oil company hoping that arts advertising and sponsorship might clean up a tarnished brand Shell, for example, was the co-producer with the Rijksmuseum and the National Gallery for the latter’s autumn 2014 blockbuster show of Rembrandt’s late paintings – the entrance to which involved navigating promotional materials that extended the partnership beyond the exhibition itself This display suggested ‘Science meets art as Shell and the National Gallery come together to preserve some of Rembrandt’s finest works’ and pointed out that ‘Together, we are using cutting-edge laboratory techniques usually reserved for the analysis of fuel molecules to study why some red pigments found in many of Rembrandt’s masterpieces are fading’ Like Shakespeare, Rembrandt functions here to co-produce Shell’s message about its investment in technologies that benefit the ‘best’ of Western civilisation To realise a flash-mob intervention at the Rembrandt show, actors from Reclaim Shakespeare combined with another protest group, Shell Out Sounds48 to stage a parody of another early modern play, Dr Faustus This musical version of Marlowe’s play was staged at the National Gallery on 14 October 2014; its plot had ‘Museum Man’ (a representation of the Gallery director) sell his soul to a Shell Executive who was dressed as the devil Their interactions were punctuated by a repeated chorus: ‘See the oil spill/Breathe the gas flare/ Taste the tar sands/The deeds of Shell’.49 Security guards were unsuccessful in stopping the performance, and while the police were summoned to the scene, they did not arrive until the group had left the gallery In May 2015, it was reported that Shell had attempted to interfere in the design of a climate change exhibition at London’s Science Museum for which it was a sponsor Terry Macalister’s story in the Guardian included quotations from emails written by a Shell employee to the museum, suggesting that the company’s ‘climate change advisers’ be invited to help with a ‘content refresh’.50 Then, in November, the Science Museum responded to a Freedom of Information request to reveal that its sponsorship deal Sponsoring Shakespeare 175 with Shell would not be renewed after its expiry at the end of the year Nonetheless, the Museum’s spokesperson noted: ‘we have a long-term relationship with Shell, with whom we remain in open dialogue We may or may not enter into partnership agreements with Shell in the future’.51 Other groups in the Art Not Oil coalition bring Reclaim Shakespeare-styled interventions to other UK cultural institutions: these include Liberate Tate (campaigning against BP’s sponsorship of the Tate galleries), Rising Tide UK (a climate change activist group focusing on Shell’s sponsorship of the arts) and Platform London (who pursue ‘projects that push for social & ecological justice, with a particular focus on the oil and gas sector’).52 In December 2015, Platform London organised a three-day unauthorised arts festival inside the Tate Modern to challenge BP’s sponsorship deal with the Tate galleries, due to expire in December 2016 They reported that more than 4,000 Tate visitors engaged with the festival, with more than 1,000 actively participating in events.53 At the conclusion of their study of Shakespeare’s cultural value in the contemporary world, McLuskie and Rumbold write: ‘Shakespeare’s value is not corrupted by commercial forces, but is continually co-produced by brands and institutions in an increasingly complex dance of the ultimately inseparable forces of culture and the market’.54 So what was advertised in these various examples from the World Shakespeare Festival and for whom? These questions ask us, I think, to debate vigorously the ethical entanglements that surround the financial models of arts funding and our obligations as theatregoers and museum visitors as we participate in these practices There is growing public support for fossil fuel divestment, as evidenced in the sales of oil, gas and coal company shares by more than 2,000 institutions and 400 individuals worldwide Total withdrawals are estimated at £2.6 trillion.55 This action suggests that visitors to theatres and museums are likely not persuaded by Bard-branded greenwashing by BP and others But, at the same time, this shift in public opinion has not translated into a significant boycott of those cultural institutions supported by oil company funds, even if the branding strategy is exposed on site (as in the case of Reclaim Shakespeare performances) The Association of Leading Visitor Attractions figures for 2014 show the British Museum in top place (as it has been for each of the last five years), with the National Gallery and Southbank Centre in second and third – with more than six million visitors apiece.56 Theatregoers and museum visitors might not buy the message, but they are still willing to buy the subsidised ticket More generally, it is the case that scholars have been rather late to this ‘complex dance’, and it is now more than time for us to more explicitly 176 Susan Bennett account for the instrumental values of Bard Branding in the market Of course, many of the cultural institutions whose work we enthusiastically support and with which we critically engage find themselves with precarious budget conditions – sometimes of their own making, but most often as a result of government ‘austerity’ measures (most explicitly seen and felt in the United Kingdom, but certainly far more widespread geographically) Against this economic reality, corporate sponsorship cannot be easily refused, but the performances by Reclaim Shakespeare and other arts activists remind us that we have a responsibility to pay much more attention to the national and corporate values and goals that lie behind sponsoring Shakespeare Notes The Charlie the Tuna example opens Michael Bristol’s important 1990 book, Shakespeare’s America, America’s Shakespeare (London: Routledge); the other examples are more recent and can be found on the blog page of Christopher Mills, SEO Manager of Parallax, a digital services and content provider: https://parall.ax/blog/view/3046/how-has-shakespeare-influenced-modernmarketing, 24 April 2014, date accessed 30 December 2015 See, for example, Dennis Kennedy’s (1998) ‘Shakespeare and Cultural Tourism’, Theatre Journal, 50.2: 175–88; Ric Knowles’s (1994) ‘Shakespeare, 1993, and the Discourses of the Stratford Festival, Ontario’, Shakespeare Quarterly, 45.2: 211–25; Sharon O’Dair’s (2000) Class, Critics and Shakespeare (Ann Arbor, MI: University of Michigan Press); and my ‘Shakespeare on Vacation’ (2005) in Barbara Hodgdon and W B Worthen (eds) A Companion to Shakespeare and Performance (Oxford: Blackwell), pp 494–508 Kate McLuskie and Kate Rumbold (2014) Cultural Value in Twenty-first Century England: The Case of Shakespeare (Manchester: Manchester University Press), p 213 McLuskie and Rumbold, p 213 The Olympic Charter can be found at http://www.olympic.org/Documents/ olympic_charter_en.pdf This version post-dates London 2012, with revisions ratified on September 2013 As far as I’m aware, Rule 39 has not been amended recently See Susan Bennett and Christie Carson (2013) ‘Introduction: Shakespeare Beyond English’ in Susan Bennett and Christie Carson (eds) Shakespeare Beyond English (Cambridge: Cambridge University Press), p Jen Harvie and Keren Zaiontz (2013) ‘Introduction: The Cultural Politics of London 2012’, Contemporary Theatre Review, 23.4: 477 Foreword to Jonathan Bate and Dora Thornton (2012) Shakespeare: Staging the World (London: British Museum Press), p 9 Paul Prescott (2015) ‘Shakespeare and the Dream of Olympism’ in Paul Prescott and Erin Sullivan (eds) Shakespeare on the Global Stage: Performance and Festivity in the Olympic Year (London: Bloomsbury Arden Shakespeare), p 14 10 British Petroleum started business in the early part of the twentieth century, but has since 2000 been known as BP PLC (a name adopted after a series of Sponsoring Shakespeare 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 177 mergers, making it one of the seven ‘supersized’ global oil and gas conglomerates) Its international headquarters remain, however, in London John Vidal (2012) ‘Olympic Games Organisers Face Protests over BP Sponsorship Deal’ Guardian, 17 February, www.theguardian.com/business/2012/feb/17/ olympic-games-protest-bp-sponsorship, date accessed 30 December 2015 Vidal Richard Wolf (2014) ‘Supreme Court won’t review oil spill settlement’ USA Today, December, www.usatoday.com/story/news/nation/2014/12/08/ supreme-court-bp-oil-spill/19893851/, date accessed 30 December 2015 The documentary film The Great Invisible (2013) (dir Margaret Brown) is an important record of Deepwater Horizon and its effects The quotation is taken from the ‘About Us’ section of their website: bp-ornot-bp.org/about/, date accessed 30 December 2015 ‘Oiling the Wheels of the Shakespeare Festival’ Guardian, 22 April 2012, www.theguardian.com/stage/2012/apr/22/oiling-wheels-shakespeare-festival, date accessed 30 December 2015 Note: the letter opens ‘Today, 23 April,’ although the newspaper’s website has the publication date as 22 April bp-or-not-bp.org/news/much-ado-about-bp-sponsorship-as-west-end-playhit-by-protest/, date accessed 30 December 2015 Thornton and Bate, p 10 Thornton and Bate, p Thornton and Bate, p The video and script for this intervention is available at bp-or-not-bp.org/ news/museum/, date accessed 30 December 2015 ‘The Great Shakespearean Flash Mob Strikes Again’ Independent, 14 November 2012, www.independent.co.uk/arts-entertainment/theatre-dance/news/thegreat-shakespearean-flashmob-strikes-again-8316440.html, date accessed 30 December 2015 See bp-or-not-bp.org/news/shakespearean-flashmob-hits-bp-sponsored-britishmuseum/, date accessed 30 December 2015 Art Not Oil has been active since 2004 and currently has seven member groups including the Reclaim Shakespeare Company See bp-or-not-bp.org/news/museum/, date accessed 30 December 2015 Peter Sillitoe (2014) ‘Review of “Shakespeare: Staging the World”, British Museum, 19 July-25 November 2012’, Shakespeare, 10.1: 110 Thornton and Bate, p 269 Thornton and Bate, p 269 Collette Gordon, ‘“Mind the gap”: Globalism, Postcolonialism and Making up Africa in the Cultural Olympiad’ in Paul Prescott and Erin Sullivan (eds) Shakespeare on the Global Stage, p 209 ‘Shakespeare: Staging the World – Review’ Guardian, 19 July 2012, www theguardian.com/culture/2012/jul/19/shakespeare-staging-the-world-review, date accessed 30 December 2015 ‘Shakespeare: Staging the World, Review’ Telegraph, 16 July 2012, www telegraph.co.uk/culture/theatre/william-shakespeare/9404131/ShakespeareStaging-the-World-review.html, date accessed 30 December 2015 Dorment gives the exhibition five out of five stars See Gordon pp 206–11 for a detailed discussion of the Robben Island Bible and its use not just in ‘Shakespeare: Staging the World’ but for its citation in the Royal Shakespeare Company’s ‘African’ production of Julius Caesar 178 Susan Bennett 32 Gordon, p 209 33 He is quoted in Anita Li’s ‘African National Congress disputes “iconic” status of Robben Island Bible displayed in British Museum’ Toronto Star, 19 July 2012, www.thestar.com/news/world/2012/07/19/african_national_congress_disputes_iconic_status_of_robben_island_bible_displayed_in_british_ museum.html, date accessed 30 December 2015 Gordon also draws on Li’s article 34 bp-or-not-bp.org/news/performers-put-bp-on-trial-for-gross-deception-atbritish-museum/, date accessed 30 December 2015 35 bp-or-not-bp.org/news/british-museum-director-given-a-bp-themed-sendoff-in-museums-great-court/, date accessed 30 December 2015 36 bp-or-not-bp.org/news/gallery-and-museum-workers-vote-to-oppose-oilsponsorship/, date accessed 30 December 2015 37 bp-or-not-bp.org/action-is-eloquence/, date accessed 30 December 2015 38 The group is active on social media with both a Facebook page and a Twitter feed (@ReclaimOurBard) 39 bp-or-not-bp.org/news/rsc-backs-away-from-worlds-biggest-corporate-criminal/, date accessed 30 December 2015 40 bp-or-not-bp.org/news/alas-the-rsc-is-back-in-the-arms-of-bp/, date accessed 30 December 2015 41 www.rsc.org.uk/support/rsc-key/, date accessed 30 December 2015 42 John Reynolds (2012) ‘BP’s Brand Image Benefits From London 2012 Sponsorship, Claims Research’ Marketing Magazine, 17 February, www.marketing magazine.co.uk/article/1117665/bps-brand-image-benefits-london-2012sponsorship-claims-research, date accessed 30 December 2015 43 ‘Tate’s BP Sponsorship Was £150,000 to £330,000 a Year, Figures Show’ Guardian, 26 January 2015, www.theguardian.com/artanddesign/2015/ jan/26/tate-reveal-bp-sponsorship-150000-330000-platform-informationtribunal, date accessed 30 December 2015 44 Mel Evans (2015) Artwash: Big Oil and the Arts (London: Pluto Press), p 60 45 Thornton and Bate, p 46 ‘RSC: Finance and Funding’, www.rsc.org.uk/about-us/facts-and-figures/ finance-and-funding, date accessed 30 December 2015 47 ‘RSC: Finance and Funding’, p 37 48 Shell Out Sounds, comprised of musicians and singers, was formed in the belief that Shell was escaping notice while Reclaim Shakespeare were focused on BP Their focus is captured in their byline ‘Voices for a Shellfree Southbank’ and their pop-up performances have been concentrated on events sponsored by Shell at Southbank venues See shelloutsounds.org/ about/, date accessed 30 December 2015 49 A video and the script is archived at bp-or-not-bp.org/news/musical-anti-oiland-privatisation-protest-disrupts-launch-of-national-gallery-exhibition/, date accessed 30 December 2015 50 ‘Shell Sought to Influence Direction of Science Museum Climate Programme’ Guardian, 31 May 2015, www.theguardian.com/business/2015/may/31/ shell-sought-influence-direction-science-museum-climate-programme, date accessed 30 December 2015 51 Cited in Adam Vaughan (2015) ‘Science Museum Ends Sponsorship Deal with Shell’ Guardian, 12 November, www.theguardian.com/business/2015/ Sponsoring Shakespeare 52 53 54 55 56 179 nov/12/science-museum-ends-sponsorship-deal-with-shell, date accessed 30 December 2015 twitter.com/PlatformLondon Links to the other organisations participating in the Art Not Oil Coalition can be found at bp-or-not-bp.org/action-iseloquence/, date accessed 30 December 2015 The festival’s press release is available at deadline.org.uk/2015/12/09/releaseartists-successfully-occupy-tate-for-3-days-for-climate-festival/, date accessed 30 December 2015 The release includes a quotation from UK Green Party leader Natalie Bennett, one of the festival’s speakers: ‘Tate is soaking up BP’s oil, and giving BP cover to keep drilling.’ McLuskie and Rumbold, p 235 See Emma Howard (2015) ‘Ten UK Universities Divest From Fossil Fuels’ Guardian, 10 November, www.theguardian.com/environment/2015/nov/10/ ten-uk-universities-divest-from-fossil-fuels, date accessed 30 December 2015 Howard’s article links to the important climate change activism organisation 350.org ‘2014 Visitor Figures’ alva.org.uk/details.cfm?p=605, date accessed 30 December 2015 Select Bibliography Bate, Jonathan and Dora Thornton (2012) Shakespeare: Staging the World (London: British Museum Press) Evans, Mel (2015) Artwash: Big Oil and the Arts (London: Pluto Press) Goldfarb, Martin and Howard Aster (2010) Affinity: Beyond Branding (Toronto: MacArthur & Company) McLuskie, Kate and Kate Rumbold (2014) Cultural Value in Twenty-first Century England: The Case of Shakespeare (Manchester: Manchester University Press) Prescott, Paul and Erin Sullivan (eds) (2015) Shakespeare on the Global Stage: Performance and Festivity in the Olympic Year (London: Bloomsbury Arden Shakespeare) Wu, Chin-Tao (2002) Privatising Culture: Corporate Art Intervention since the 1980s (London: Verso) Index Aaron, Melissa, acting companies Admiral’s Men, Lord, 14, 16, 17–18, 19 Chamberlain’s Men, Lord, 1, 6, 13, 15–19, 33 Cheek by Jowl, 80 Children of the Chapel Royal, 20 Derby’s players, Earl of, 24 King’s Men, 1, 13, 14, 15–16, 19–23, 25, 27, 33 Palsgrave’s Men, 22 Pembroke’s Men, Earl of, 16, 24 Prince’s Men, 19 Queen’s Men, 16 Reclaim Shakespeare Company, 166–8, 168–70, 171–2, 173, 174, 175, 176 Royal Shakespeare Company, 4, 6, 42, 46, 47, 109, 113, 152, 153, 154, 156, 157, 164, 166, 167, 172–3, 174 Shakespeare’s Globe Company, 152, 156 Simpson players, 26 Sussex’s players, Earl of, 24 Wooster Group, 164 Admiral’s Men, Lord, 14, 16, 17–18, 19 advertising, 2, 3, 5, 7, 8, 59–60, 64, 65, 66, 67, 69, 70, 72, 77, 78, 87–8, 90, 106, 110, 111, 113, 114, 115, 116–17, 119, 143, 149–50, 153–5, 158, 163, 170, 174, 175 ale, 99, 100–3, 104, 105, 107, 109, 112, 113, 114, 116, 119, 120 Alleyn, Edward, 14, 22 All’s Well That Ends Well, 20 Altman, Rick, 71 Anderegg, Michael, 68 Antony and Cleopatra, 20 Appleby, Jo, 138 Arden, Mary, 120 Arden of Faversham, 39, 51 Arnold, Matthew, 67 ‘Art not Oil’ Coalition, 169, 175 As You Like It, 7, 38–9, 57, 58, 61, 64 Ashdown-Hill, John, 126, 141, 142, 144 Aubrey, John, 106 Avengers Assemble, 82–3 Babington, Bruce, 81 Baldwin, Stanley, 109 Barbican Theatre, London, 88, 92, 93 Bate, Jonathan, 42, 168, 170 Beaumont-Thomas, Ben, 81 beer and lager, 5, 8, 100, 101–3, 104, 106, 108, 110, 111–12, 113, 114, 115, 116, 117, 119, 120 Carling Black Label, 110–11 Flower & Sons, 8, 107, 108, 109, 110, 112, 113 ‘Quill 1’, 117–19 ‘Quill 2’, 119–20 ‘Shakesbeer’, 116–17 ‘Shakes-beerd’, 115 ‘Shakespeare’s County’, 112–13 ‘William Shakespeare Strong Ale’ range, 113–15 Bergner, Elisabeth, 61, 64 Berkoff, Stephen, 87 Billington, Michael, 94 Bingham, Dennis, 68 Blackfriars Playhouse, London, 20–1, 22, 23 Blayney, Peter, 25 Boorde, Andrew, 102–3 Booth, Paul, 91 Bourdieu, Pierre, 2, BP, 9, 165–74, 175 Branagh, Kenneth, 58, 71, 80, 81, 82, 83, 85, 86, 91 brands/branding, 3–5, 6, 7, 8–9, 25, 78, 79, 88, 90, 108, 112, 114, 148, 150, 153, 155, 159, 160, 163, 164, 165, 166–7, 174, 175–6 180 Index Brantley, Ben, 94 British Council, The, 149, 150, 151, 152, 155, 157, 158 British Museum, London, 9, 165, 166, 168–9, 170, 171–2, 173–4, 175 Brooke, Arthur, 70 Brookes, Mike, 164 Brown, Mark, 173 Bruster, Douglas S., 1, 13 Buchanan, Judith, 68, 86–7 Buckley, Richard, 127, 138, 141 Buhler, Stephen M., 65 Burbage, Cuthbert, 18, 19 Burbage, James, 17, 20 Burbage, Richard, 14, 17, 18, 19, 20, 22 Burt, Richard, 67 Burton, Richard, 79 Cameron, David, 150 Cardenio, 51 Carling Black Label, 110–11 Carlson, Marvin, 86–7 Cerasano, S P., Chamberlain’s Men, Lord, 1, 6, 13, 15–19, 33 Chapman, George, 17 Cheek by Jowl, 80 Chettle, Henry, 14, 39 Children of the Chapel Royal, 20 Chimes at Midnight, 58 Church End Brewery, 115–17 Colman, Ronald, 59, 81 Condell, Henry, 25 Contention of York and Lancaster, The, 46 Coriolanus, 20, 85, 86, 87, 164 Cowley, Richard, 18 Crompton, Sarah, 91 Crowl, Samuel, 67 Cukor, George, 57, 59, 60, 65 Cultural Olympiad (2012), 9, 163, 164–5, 167 Cumberbatch, Benedict, 7, 78, 88–91, 92–4, 140 Curry, Jeff, 88 Cymbeline, 23, 80, 85 Czinner, Paul, 57, 61 181 Deepwater Horizon oil rig explosion, 165, 170, 173 Dekker, Paul, 149 Dekker, Thomas, 39, 65 Dench, Judi, 59 Derby’s players, Earl of, 24 Desdemona, 164 Desmet, Christy, 68 Dieterle, William, 57 Dr Faustus, 174 Donmar Warehouse, London, 86 Dorment, Richard, 171 Double Life, A, 59 Dudley, Bob, 168, 173 Duffy, Carol Ann, 140 Dusinberre, Juliet, 38 Easterbrook, Mark, 113 education, 2, 5, 148, 150, 151, 155, 156, 157, 158 Edward, Prince of Wales (later King Edward VII), 109, 110 Edward III, 39 Edwards, Philip, 36–7 Elizabeth II, Queen, 78, 89, 110, 140, 150, 152, 157 Elliott, Mel, 90 Elliott, Stewart, 116 Erne, Lukas, 25 Evans, Mel, 173 Everett, Rupert, 66 Every Man in His Humour, 17 Every Man out of His Humour, 17 Eyre, Richard, 85 Fairbanks, Douglas, 59–60, 61, 66 Faithful Shepherdess, The, 23 Farmer, Alan B., 25 Faucit, Helen, 107 Faust, Part I, vii–iii, ix Fiennes, Joseph, 71 First Folio, 4, 25–6, 36, 37, 39, 40, 42, 43, 46, 47–8, 49, 50, 51, 52, 113 Firth, Colin, 70, 85 Fletcher, John, 23, 39 Flower, Archibald, 109, 110 Flower, Charles Edward, 107, 108, 109 Flower, Edward, 107 182 Index Flower & Sons, 8, 107, 108, 109, 110, 112, 113 Foakes, R A., 43 Fortune Playhouse, London, 14, 22 Gant, Charles, 68 Gaffney, John, 78 Garrick, David, Gielgud, John, 87 George V, King, 109 Globe Theatre, London, 17, 19, 20, 21, 22, 23, 105, 109 Goethe, Johann Wolfgang von, vii–iii, ix Gordon, Collette, 171 Gossett, Suzanne, 39 Granville-Barker, Harley, 60 Grav, Peter, Graves, Karl, 116 Grayling, Chris, 140 GREAT Britain campaign, vii, 8, 148, 149–51, 152–3, 155, 156–60 Greenblatt, Stephen, 42, 44, 51, 71 Greene, Robert, 16 Grove, John, 103 Gurr, Andrew, 15, 19, 20, 21, 22 Hall, Edward, 130, 137 Hall, Lee, 73 Hall, Peter, Hamlet, 20, 24, 36, 37, 44–5, 47, 51, 57, 58, 59, 66, 71, 72, 77, 88, 89, 91–4, 100, 111, 128, 152, 156, 157 Hardy, Thomas, 109 Harris, Scott Jordan, 93–4 Harry & Parker Microbrewery, 113–14, 115 Harvey, Gabriel, 24 Harvie, Jen, 164 Hattersley, Giles, 81 Heminges, John, 25 Henry IV, Part I, 17, 25, 45, 46, 49, 50, 100 Henry IV, Part II, 17, 25, 26, 47, 49, 50 Henry V, 17, 24, 47, 57, 58, 65, 69, 85, 86, 99, 100, 105, 120 Henry VI, Part I, 39, 51, 129 Henry VI, Part II, 39, 46, 51, 100, 129 Henry VI, Part III, 16, 26, 39, 46, 51, 129 Henry VIII, 39, 51, 109 Henslowe, Philip, 14, 18, 68, 70 Hey for Honesty, 13, 22 Heywood, Thomas, 39 Hiddleston, Tom, 7, 78, 80–88, 89, 90, 91, 93 Higson, Andrew, 70 Hobson, Harold, 135, 136 Hodgdon, Barbara, 79 Hoffman, Michael, 58 Holderness, Graham, Holinshed, Raphael, 130, 137 Holland, Peter, 18 Hollow Crown, The, 85, 86 Hollywood, 57, 64, 65, 66, 71, 73, 79–80, 81, 86, 87, 88, 89 Holmes, Diana, 78 Holmes, Jonathan, 78 Holt, Douglas, Hopkins, Anthony, 79 Humorous Day’s Mirth, A, 17 Hunt, Leon, 138 In the Bleak Midwinter, 58 Ingram, William, 13–14, 15 Ioppolo, Grace, 26 Jackson, Russell, 68, 78 James I (VI of Scotland), King, 19 Jones, Katherine W., 84 Jones, Michael, 127, 134, 143 Jonson, Ben, 3, 17, 23, 26, 65, 105 Jowett, John, 47 Julius Caesar, 32, 170–1 Junger, Gil, 58 Jupp, Emily, 169 Kalin, Mike, 116 Kastan, David Scott, 22 Kathrada, Ahmed, 171 Kemp, Will, 18 Keynes, John Maynard, King John, 46 King Lear, 20, 22, 26, 42–3, 44, 51, 58, 85 King’s Men, 1, 13, 14, 15–16, 19–23, 25, 27, 33 Index Kiss Me Kate, 57, 64 Korda, Alexander, 71, 72 Kozintsev, Grigori, 58 Kurosawa, Akira, 58 Kyd, Thomas, 39 lager, see beer and lager Langley, Philippa, 126, 127, 128, 130, 134, 138, 141, 144 Lanier, Douglas, 3, 7, 9, 69, 79 Last Action Hero, 77 Laughton, Charles, 71 Le Mort de Jules César, 65 Leavis, F R., 67, 69, 73 Leavis, Q D., 67, 70, 73 Leicester, vii, 8, 126, 127, 138–41, 142–3, 144 Lesser, Zachary, 25 Letts, Quentin, 94 Levi, Zachary, 85 Lewitt, Jerry, 112–13 ‘Liberate Tate’, 175 Loncraine, Richard, 80 London, 1, 6, 13, 15, 16, 17, 18, 19, 20, 21, 23, 24, 26, 27, 65, 72, 73, 88, 91, 99, 102, 105, 107, 108, 109, 112, 131, 150, 157, 158, 163, 164, 167, 168, 170, 173, 174 London Olympics / Paralympics (2012), vii, 150, 157, 164–8, 169, 173 Longhurst, Derek, 111 ‘Looking for Richard’ Project, 126, 127, 141, 144, 145 Love’s Labour’s Lost, 24, 58 Luhrmann, Baz, 7, 58, 66, 69, 71 Macalister, Terry, 174 Macbeth, 20, 39, 40, 58, 131, 132, 156, 168 MacDonald, Ramsay, 109 MacGregor, Neil, 165, 172, 173 Mack, Roy, 64 Madden, John, 7, 57, 58, 67, 70 Manchester Royal Exchange Theatre, Manchester, 157 Mandela, Nelson, 170–1 Markham, Gervase, 102 Marlowe, Christopher, 39, 66, 174 183 Master Will Shakespeare, 64, 65 Mayakovsky Theatre, Moscow, 156 Mayer, Louis B., 57, 67 McKellen, Ian, 77, 79, 80, 128, 157–8 McKernan, Luke, 65 McKerrow, R B., 35 McLuskie, Kate, 163, 164, 175 Measure for Measure, 20, 39, 40 Méliès, Georges, 65 Merchant of Venice, The, 2, 24 Meres, Francis, 19 Merry Wives of Windsor, The, 47 Middleton, Thomas, 39, 40 Midsummer Night’s Dream, A, 18, 24, 33, 57, 58, 64, 88, 100 More, Sir Thomas, 130, 137 Morrison, Toni, 164 Mottram, James, 81 Mthembu, Jackson, 171 Much Ado About Nothing, 18, 24, 58, 107, 167 Munday, Anthony, 39 Murphy, Andrew, 19 Nation Brand Index, 159 National Gallery, London, 174, 175 National Portrait Gallery, London, 173 National Theatre Live, 91–2, 94, 157 National Theatre of Wales, 165 New Bibliography, 36, 38 New Economic Criticism, New Theatre, London, 135 Nöel Coward Theatre, London, 73, 167 Norman, Marc, 65–6, 67, 71 Norton Shakespeare, The, 6, 42–6, 50–2 Novaya Opera Theatre, Moscow, 156 O’Toole, Peter, 91 Old Vic Theatre, London, 135 Oldcastle, Parts I and II, Sir John, 17 Olivier, Laurence, 57, 58, 59, 61, 64, 65, 66, 69, 72, 77, 78, 86, 91, 128, 135–7, 157 Olympics / Paralympics (2012), see London Olympics / Paralympics (2012) Orlin, Lena Cowen, 101 184 Index Osborne, George, 159 Osteen, Mark, Othello, 20, 47, 58, 59, 80, 85, 156 Oxford Complete Works of Shakespeare, The, 6, 25, 37, 38, 42, 43, 44, 45, 46, 51 Paddock, Terri, 93 Palsgrave’s Men, 22 Paltrow, Gwyneth, 59, 72 Parker, Oliver, 58 Pearson, Mike, 164 Peele, George, 39, 52 Pembroke’s Men, Earl of, 16, 24 Pericles, 26, 39, 51 Pheasantry brewery, 113 Pickford, Mary, 59–60, 61, 66 ‘Plantagenet Alliance’, 139–40 ‘Platform London’, 175 Plowright, Joan, 77 Porter’s Hall Playhouse, London, 22 Portman, Natalie, 83 Prescott, Paul, 165 Price, Eoin, 88, 89 Prince’s Men, 19 Private Life of Henry VIII, The, 71, 72 Prynne, William, 15, 26 Queen’s Men, 16 ‘Quill 1’ beer, 117–19 ‘Quill 2’ beer, 119–20 Ran, 58 Randall, Thomas, 103 Randolph, Thomas, 13 Rape of Lucrece, The, 24 Rasmussen, Eric, 42 Reclaim Shakespeare Company, 166–8, 168–70, 171–2, 173, 174, 175, 176 Rees Bradley Hepburn Ltd, 116 Reinhardt, Max, 57 Richard II, 24, 25, 48–9, 87 Richard III, 8, 24, 25, 57, 80, 128–37, 138, 157 Richard III, King, vii, 8, 89, 126, 127–8, 137–43, 144, 145 Rickson, Ian, 93 Rijksmuseum, Amsterdam, 174 ‘Rising Tide UK’, 175 ‘Robben Island Bible’, 170–1 Robbins, Jerome, 58 Romeo and Juliet, 7, 35–6, 48, 57, 58, 59, 60, 64, 65, 66, 68, 69, 70, 71, 156, 157 Roper, Naomi, 92 Rose Playhouse, London, 14, 16, 17, 18 Rosencrantz and Guildenstern are Dead, 71 Rourke, Josie, 86 Rous, John, 137 Royal Opera House, London, 173 Royal Shakespeare Company, 4, 6, 42, 46, 47, 109, 113, 152, 153, 154, 156, 157, 164, 166, 167, 172–3, 174 Royal Shakespeare Company (RSC) Complete Works, 6, 42, 46–50, 52 Rumbold, Kate, 163, 164, 175 Ryan, Kiernan, 132 Sam Wanamaker Playhouse, London, 88 Sawyer, Robert, 68 Schoenbaum, Samuel, 105 Schwarzenegger, Arnold, 77 Science Museum, London, 174–5 Second and Third Blast of Retrait from Plaies and Theaters, A, 15 Sellars, Peter, 164 Shake, Mr Shakespeare, 64 ‘Shakesbeer’, 116–17 ‘Shakes-beerd’, 115 Shakespeare, Anne, 101 Shakespeare, John, 103–4, 112, 120 Shakespeare, William, 1, 2, 3–9, 13, 14, 15, 16, 17, 18–27, 32, 33, 34, 35, 36, 37, 38, 39, 40, 42, 45, 46, 47, 48, 49, 50, 52, 53, 57, 58–9, 60, 61, 64, 65–6, 66–7, 69–70, 72, 73, 100, 101, 102, 103, 104, 105–6, 108, 109, 111, 113, 114, 115, 116, 117, 119–20, 128, 129, 130, 132, 137, 138, 142, 143, 144, 148, 152–3, 154, 155, 156, 157, 158, 159, 160, 163–4, 165, 168, 169, 174, 175, 176 All’s Well That Ends Well, 20 Antony and Cleopatra, 20 Index Arden of Faversham, 39, 51 As You Like It, 7, 38–9, 57, 58, 61, 64 Cardenio, 51 Coriolanus, 20, 85, 86, 87, 164 Cymbeline, 23, 80, 85 Edward III, 39 First Folio, 4, 25–6, 36, 37, 39, 40, 42, 43, 46, 47–8, 49, 50, 51, 52, 113 Hamlet, 20, 24, 36, 37, 44–5, 47, 51, 57, 58, 59, 66, 71, 72, 77, 88, 89, 91–4, 100, 111, 128, 152, 156, 157 Henry IV, Part I, 17, 25, 45, 46, 49, 50, 100 Henry IV, Part II, 17, 25, 26, 47, 49, 50 Henry V, 17, 24, 47, 57, 58, 65, 69, 85, 86, 99, 100, 105, 120 Henry VI, Part I, 39, 51, 129 Henry VI, Part II, 39, 46, 51, 100, 129 Henry VI, Part III, 16, 26, 39, 46, 51, 129 Henry VIII, 39, 51, 109 Julius Caesar, 32, 170–1 King John, 46 King Lear, 20, 22, 26, 42–3, 44, 51, 58, 85 Love’s Labour’s Lost, 24, 58 Macbeth, 20, 39, 40, 58, 131, 132, 156, 168 Measure for Measure, 20, 39, 40 Merchant of Venice, The, 2, 24 Merry Wives of Windsor, The, 47 Midsummer Night’s Dream, A, 18, 24, 33, 57, 58, 64, 88, 100 Much Ado About Nothing, 18, 24, 58, 107, 167 Norton Shakespeare, The, 6, 42–6, 50–2 Othello, 20, 47, 58, 59, 80, 85, 156 Oxford Complete Works of Shakespeare, The, 6, 25, 37, 38, 42, 43, 44, 45, 46, 51 Pericles, 26, 39, 51 Rape of Lucrece, The, 24 Richard II, 24, 25, 48–9, 87 Richard III, 8, 24, 25, 57, 80, 128–37, 138, 157 ‘Robben Island Bible’, 170–1 185 Romeo and Juliet, 7, 35–6, 48, 57, 58, 59, 60, 64, 65, 66, 68, 69, 70, 71, 156, 157 Royal Shakespeare Company (RSC) Complete Works, 6, 42, 46–50, 52 Sir Thomas More, 33, 39 Sonnets, Spanish Tragedy, The, 39, 51 Taming of the Shrew, The, 7, 46, 57–8, 59–60, 61, 100 Tempest, The, 69, 166 Timon of Athens, 39, 51 Titus Andronicus, 24, 39, 51, 52 Troilus and Cressida, 20, 164 Twelfth Night, 58, 99–100, 148, 156 Two Gentlemen of Verona, The, 100, 102 Two Noble Kinsmen, The, 23, 39, 51 Venus and Adonis, 24, 25 Winter’s Tale, The, 23, 100 Shakespeare Birthplace Trust, 4, 113, 117, 119, 120, 157 ‘Shakespeare Day Live’, 157 Shakespeare in Love, 7, 57, 58, 59, 65, 66–73 ‘Shakespeare Lives in 2016’, 157–8 Shakespeare Memorial Theatre, Stratford-upon-Avon, 107–10, 166 ‘Shakespeare: Staging the World’, 9, 165, 168–72, 173 ‘Shakespeare’s County’, 112–13 Shakespeare’s Globe Company, 152, 156 Shakespeare’s Globe Theatre, London, 88, 89, 154, 157, 164 Sharrock, Thea, 85 Shaw, Deborah, 164 Shaw, George Bernard, 73, 109 Shell, 174–5 ‘Shell Out Sounds’, 174 Shellard, Dominic, 78 Sher, Antony, 128 Sherlock, 88, 89, 93, 94 Shuttleworth, Ian, 81 Sidney, George, 57 Sillitoe, Peter, 170 Simeon, James R., 137 Simpson, Robert and Christopher (players), 26 Sinfield, Alan, 186 Index Sir Thomas More, 33, 39 Snowling, James, 114 Sonnets, Sorrell, Martin, 149 Spanish Tragedy, The, 39, 51 Stoppard, Tom, 67, 71 Stratford-upon-Avon, 4, 8, 16, 18, 21, 65, 69, 103, 105, 106, 107–8, 109–10, 112, 113, 116, 120, 148, 152, 154–5, 158, 163, 164, 166 Strunk Jr, William, 60, 71 Sussex’s players, Earl of, 24 Taming of a Shrew, The, 46 Taming of the Shrew, The, 7, 46, 57–8, 59–60, 61, 100 Tate Britain, London, 173 Tate Modern, London, 175 Taylor, Gary, 40, 47 Taylor, John, 103 Taylor, Sam, 57, 59 Tempest, The, 69, 166 10 Things I Hate About You, 58 Terris, Olwen, 65 The Bad Sleep Well, 58 Theatre, The, London, 17, 18, 19 theatres Barbican Theatre, London, 88, 92, 93 Blackfriars Playhouse, London, 20–1, 22, 23 Donmar Warehouse, London, 86 Fortune Playhouse, London, 14, 22 Globe Playhouse, London, 17, 19, 20, 21, 22, 23, 105, 109 Manchester Royal Exchange Theatre, Manchester, 157 Mayakovsky Theatre, Moscow, 156 National Theatre of Wales, 165 New Theatre, London, 135 Nöel Coward Theatre, London, 73, 167 Novaya Opera Theatre, Moscow, 156 Old Vic Theatre, London, 135 Porter’s Hall Playhouse, London, 22 Rose Playhouse, London, 14, 16, 17, 18 Royal Opera House, London, 173 Sam Wanamaker Playhouse, London, 88 Shakespeare Memorial Theatre, Stratford-upon-Avon, 107–10, 166 Shakespeare’s Globe Theatre, London, 88, 89, 154, 157, 164 Theatre, The, London, 17, 18, 19 Wyndham Theatre, London, 80 Thor, 80, 81–3, 86, 87 Thor: The Dark World, 83 Thornton, Dora, 168, 170 Throne of Blood, 58 Timon of Athens, 39, 51 Titus Andronicus, 24, 39, 51, 52 tourism, vii, 4, 8, 107, 108, 116, 120, 139, 142–3, 148, 149, 150, 151, 153–5, 157, 158, 163, 165, 170 Tourneur, Jacques, 64 Traoré, Rokia, 164 Troilus and Cressida, 20, 164 Troublesome Reign of King John, The, 46 True Tragedy of Richard Duke of York, The, 26, 46 Tunnel Brewery, 117, 119, 120 Turner, Lyndsey, 88, 92, 93, 94 Twelfth Night, 58, 99–100, 148, 156 Two Gentlemen of Verona, The, 100, 102 Two Noble Kinsmen, The, 23, 39, 51 Tynan, Kenneth, 135, 136 van Es, Bart, 16, 21, 23 Venkatrathnam, Sonny, 170 Venus and Adonis, 24, 25 Vergil, Polydore, 137, 138 Vickers, Brian, 25 VisitBritain, 150, 151, 153, 158 VisitEngland, 150, 154–5 Warwickshire Beer Company, 112 Watson, Nicola J., Weinstein, Harvey, 67, 72 Welles, Orson, 58 Wells, Stanley, 44, 52 Werstine, Paul, 44 Wessex, Sophie, Countess of, 140 West, Anthony, 26 West Side Story, 58, 59, 64 Whedon, Joss, 82 Wilkins, George, 39 William Shakespeare’s Romeo + Juliet, 7, 58, 68, 69, 71 Index ‘William Shakespeare Strong Ale’ range, 113–15 Winter’s Tale, The, 23, 100 Wise, Robert, 58 Woodmansee, Martha, Wooster Group, 164 World Shakespeare Festival, 164, 165, 166, 167, 168, 169, 170, 173 Wriothesley, Henry, Earl of Southampton, 24 Wyndham Theatre, London, 80 Yates, Bob, 117 Zaiontz, Keren, 164 Zeffirelli, Franco, 58, 66, 157 187 ... internationally, from the late sixteenth century to the twenty- first century In the process they demonstrate how Shakespeare has been a part of economic and cultural markets from the beginning, but they also... playgoers and members of the public.’ —Professor Alison Findlay, Lancaster University, UK Shakespeare’s Cultural Capital His Economic Impact from the Sixteenth to the Twenty- first Century Edited by... Shakespeare’s role in the economic as well as the artistic marketplace It is with this Introduction aim that we invited the contributors to this volume to reflect on the cultural capital and the direct