Percy Shelley (1792-1822) was one of the major English Romantic poets. This biography of emphasises the political, revolutionary side of his dramatic life. Shelley has long been revered for his poems To A Skylark and The Mask of Anarchy, but this was not always the case. During his short and tragic life he was regarded with loathing as an immoral atheist and his work received damning reviews as a result. His was a story of extremes - his radical ideas were unusual as he was the son of a wealthy landowner and set to become a Whig MP. Today, a focus on his belief in sexual freedom and vegetarianism often eclipses his informed internationalist and revolutionary politics. Admired by Oscar Wilde, Thomas Hardy, W. B. Yeats and Karl Marx, Shelley's legacy remains with us today - his words have been used by popular movements from the Chartists and the Suffragettes to Tiananmen Square, the Poll Tax protesters and modern Greek solidarity movements.

This is the first full-length study of Shelley's plays in performance. It offers a rich, meticulously researched history of Shelley's role as a playwright and dramatist and a reassessment of his "closet dramas" as performable pieces of theatre. With chapters on each of Shelley's dramatic works, the book provides a thorough discussion of the poet's stagecraft, and analyses performances of his plays from the Georgian period to today. In addition, Mulhallen offers details of the productions Shelley saw in England and Italy, many not identified before, as well as a vivid account of the actors and personalities that constituted the theatrical scene of his time. Her research reveals Shelley as an extraordinarily talented playwright, whose fascination with contemporary theatrical theory and practice seriously challenges the notion that he was a reluctant dramatist. This study is a major contribution to recent reassessments of Shelley's work and an invaluable resource for anybody interested in Romantic writing and the history of theatre.

This is the first full-length study of Shelley's plays in performance. It offers a rich, meticulously researched history of Shelley's role as a playwright and dramatist and a reassessment of his "closet dramas" as performable pieces of theatre. With chapters on each of Shelley's dramatic works, the book provides a thorough discussion of the poet's stagecraft, and analyses performances of his plays from the Georgian period to today. In addition, Mulhallen offers details of the productions Shelley saw in England and Italy, many not identified before, as well as a vivid account of the actors and personalities that constituted the theatrical scene of his time. Her research reveals Shelley as an extraordinarily talented playwright, whose fascination with contemporary theatrical theory and practice seriously challenges the notion that he was a reluctant dramatist. This study is a major contribution to recent reassessments of Shelley's work and an invaluable resource for anybody interested in Romantic writing and the history of theatre.