Burlesque has been a powerful and enduring weapon in the critique of legitimate Shakespearean culture by a seemingly illegitimate popular culture, particularly in the nineteenth century. This first study of nineteenth-century Shakespeare burlesques explores the paradox that plays obviously not Shakespearean appear to be the most genuinely Shakespearean of all. The book brings together archival research, rare photographs and illustrations, studies of burlesque scripts, and an awareness of theatrical, literary, and cultural contexts.

This book explores the revivals of Shakespeare's history plays during the Victorian period, as staged by the famous actor-manager Charles Kean. Between 1852 and 1859, Kean produced celebrated productions of Henry V, Henry VIII, King John, Macbeth and Richard II, renowned for their unprecendented attention to antiquarian detail in sets, costumes, and properties (many of which are shown in the book's illustrations). These productions provided audiences with an unparalleled opportunity to participate in the Victorian obsession with history, especially of the medieval period. Using valuable primary sources, including promptbooks, scenic designs, costume sketches and contemporary reviews, Richard Schoch places mid-Victorian attitudes towards the theatre in the context of major intellectual and political movements of the age. The book will be of interest to scholars and students of theatre history, Shakespeare studies and Victorian culture.

This book explores the revivals of Shakespeare's history plays during the Victorian period, as staged by the famous actor-manager Charles Kean. Between 1852 and 1859, Kean produced celebrated productions of Henry V, Henry VIII, King John, Macbeth and Richard II, renowned for their unprecendented attention to antiquarian detail in sets, costumes, and properties (many of which are shown in the book's illustrations). These productions provided audiences with an unparalleled opportunity to participate in the Victorian obsession with history, especially of the medieval period. Using valuable primary sources, including promptbooks, scenic designs, costume sketches and contemporary reviews, Richard Schoch places mid-Victorian attitudes towards the theatre in the context of major intellectual and political movements of the age. The book will be of interest to scholars and students of theatre history, Shakespeare studies and Victorian culture.

Burlesque has been a powerful and enduring weapon in the critique of 'legitimate' Shakespearean culture by a seemingly 'illegitimate' popular culture. This was true most of all in the nineteenth century. From Hamlet Travestie (1810) to Rosencrantz and Guildenstern (1891), Shakespeare burlesques were a vibrant, yet controversial form of popular performance: vibrant because of their exuberant humour; controversial because they imperilled Shakespeare's iconic status. Richard Schoch, in this study of nineteenth-century Shakespeare burlesques, explores the paradox that plays which are manifestly 'not Shakespeare' purport to be the most genuinely Shakespearean of all. Bringing together archival research, rare photographs and illustrations, close readings of burlesque scripts, and an awareness of theatrical, literary and cultural contexts, Schoch changes the way we think about Shakespeare's theatrical legacy and nineteenth-century popular culture. His lively and wide-ranging book will appeal to scholars and students of Shakespeare in performance, theatre history and Victorian studies.